The Notebook of Bass Otis, Philadelphia Portrait Painter
THOMAS KNOLES
INTRODUCTION N 1931, Charles H. Taylor, Jr., gave the American Antiquarian Society a small volume containing notes and sketches made I by Bass Otis (1784-1 S6i).' Taylor, an avid collector of Amer- ican engravings and lithographs who gave thousands of prints to the Society, was likely most interested in Otis as the man generally credited with producing the first lithographs made in America. But to think of Otis primarily in such terms may lead one to under- estimate his scope and productivity as an artist, for Otis worked in a wide variety of media and painted a large number of portraits in the course of a significant career which spanned the period between 1812 and 1861. The small notebook at the Society contains a varied assortment of material with dated entries ranging from 1815 to [H54. It includes scattered names and addresses, notes on a variety of sub- jects, newspaper clippings, sketches for portraits, and even pages on which Otis wiped off his paint brush. However, Otis also used the notebook as an account book, recording there the business side of his life as an artist. These accounts are a uniquely important source of information about Otis's work. Because Otis was a prohfic painter who left many of his works unsigned, his accounts have been
I. The notebook is in the Manuscripts Department, American Andquarian Society.
THOMAS KNOLES is curator of manuscripts at the American Andquarian Society. Copyright © i<^j3 by American Andquarian Society
Í79 Fig. I. Bass Otis (i7«4-iH6i), Self Portrait, iHfio, oil on tin, y'/z x f/i inches. American Antiquarian Society. The Notebook of Bass Otis 181 the subject of a constant stream of inquiries at the Society as scholars and owners of paintings have attempted to identify por- traits. Of primar)' importance for researchers are Otis's accounts for his work in Philadelphia between iSi9and 1826, which list the names of several hundred customers as well as the prices charged for those portraits. This transcription of the entire notebook is offered to make Otis's notes on his own work more widely available. The publica- tion of Otis's notebook also offers an opportunity for a brief new discussion ofthe facts pertaining to the artist's life and career. Such facts are by no means readily available, for there is very little direct documentation of Otis's life. He left no diaries and there are few letters or contemporary printed accounts. Even the most diligent researchers have been obliged to rely heavily on a few brief com- ments originally made by nineteenth-century writers and often repeated without question thereafter. What little we know of Otis comes largely through his work, and it is tantalizing to consider that only a small percentage of the portraits listed in Otis's note- book can now be positively identified, either in museums or pri- vate collections. That further studies of Otis's life and work are needed seems evident.^ It is the hope ofthe editor that the transcription and biography which follow will help to provide a foundation for such future studies. And given Otis's status in his own time as a respected artist whose portraits were in wide demand, perhaps an understanding of Otis's business practices and the climate in which he worked may aid in developing an understanding ofthe worlds of art, taste, and culture in the early national period. Despite the survival of his notebook and the legacy of his work as a portraitist, there is actually very litde documentary evidence
2. The only previous study to make use of Ods's notebook is the exhibidon catalogue Bass Otis: Painter, Portraitist and Engraver (Wilmington, Del. 1976), which is generally reliable and the most detailed discussion of Ods's life and work to date. Earlier studies include Joseph Jackson, 'Bass Ods: America's First Lithographer,' Pennsylvania Magazine of History and Biography ij (iiji i): 385-94, andjackson's árdele in the Dii7;onarvo/-'Í7 Biography, s.v. 'Ods, Bass.' 182 American Antiquarian Society for the details of Bass Otis's life. In fact, apart from Otis's note- book, the principal source of information on his life and career is contained in the brief comments made by William Dunlap in his History ofthe Rise and Progress ofthe Arts of Design in the United States. Moreover, while Dunlap's book is truly remarkable for its wealth of factual and anecdotal information on the art world in America in the first decades of nationhood (and still makes vastly entertain- ing reading), scarcely more than two paragraphs discuss Otis.' There is, at least, firm evidence regarding Bass Otis's origins. He was born on July 17, 1784, in East Bridgewater, Massachusetts, a town about twenty-five miles southeast of Boston. The Otis family was well established by the time of Bass's birth. His father. Dr. Josiah Otis ( 1749-1H08), was a physician, himself the son and grandson of physicians living and practicing in Plymouth County, Massachusetts. Bass's grandfather. Dr. Isaac Otis (1719-85), had graduated from Harvard College in 173 8, and was the only mem- ber of these three generations to attend an American college. The union of Bass's parents, Josiah Otis and Susanna Orr (1752- 1836), was not the first connection between the families. Otis's maternal grandfather, the Honorable Hugh Orr (1715/16-98), was a Scottish emigrant who married Mary Bass of East Bridgewa- ter in 1742. Otis's paternal grandfather. Dr. Isaac Otis, married Mary's sister, Mehitabel Bass, in 1746. The Bass surname became the artist's forename.'* This intermarriage of families had a commercial expression, as was common throughout New England. Family businesses were handed down from generation to generation and intermarriage functioned as a form of corporate consolidation. Bass Otis's anees-
3. William Dunlap, History of the Rise and Progress of the Arts of Design in tbe United States (New York, iKi4), 2:227. There is also a three-volume edition (Boston, iyi8) which adds some biographical material but deletes some of Dunlap's Information. 4. Ample information about Bass Otis's family can be found in Vital Records of East Bridgewater, Massachusetts, to /A',« (Boston, lyry); Vital Records ofBrid^errater.MassachtLfetts, to iSyo, 2 vois. (Boston, 1916); Horado N. Otis, A Genealogical and Historical Memoir of the Family of Otis (ho%ton, ca. rX^o), pp. t8, 2S; William A. Otis..-i Genealogical and Historical Memoir of the Otis Family in America (Chicago, i 924), pp. loy-i 1 Edward C. Mitchell, History of tbe Early Settle?/>ent of Bridgewater, Massachiisetts (1840; reprint, Bridgewater, I «97), p. 261; Williams Latham, Epitaphs of Old Bridgewater, Massachusetts (iHHz; reprint, Middleboro, A4ass., 1976), pp. 196-97, 200-201. The Notebook of Bass Otis 183 tors took advantage of the fact that several small rivers flow through the town of Fast Bridgewater, the town's widespread water power allowing for the establishment of mills. Otis's mater- nal great-grandfather, Jonathan Bass, built a mill and forge there in the i 72()s. In 1740 Otis's maternal grandfather, Hugh Orr, also constructed a mill and eventually achieved some distinction as a scythe maker, a founder of cannons during the Revolution, and afterwards as a developer of textile weaving machinery. Hugh Orr's son Robert ( 1 745 -1811 ) continued the business and was later head of the U.S. armory in Springfield.' The generation of which Bass Otis was a member continued to play a role in these family enterprises. Bass had five siblings. Twin boys, Thomas and Melville, were born in 1778, but only Melville survived. Abigail (Nabby) was born in [781, Bass in 17S4, Clarissa in 1786, and Welcome in 1790. Melville continued in the metal- working business and was responsible for several inventions which improved the processes of nail and tack making.*^ In 1803 Nabby married William Vinton, also a scythe maker. After her death in 1816, Vinton married Nabby's sister Clarissa.^ Because of this family history, the story told both by Dunlap and Otis's relatives that Bass Otis was apprenticed to a scythe maker or a nail and tack manufacturer seems likely to be true even in the absence of any outside proof, and bis master could certainly have been a relative."^ William A. Otis repeats a family anecdote that, as a child, Bass made drawings in chalk on the bellows ofthe forge.''
5. D. Hamilton Hurd, comp.. History of Plymouth County. MassachMetts (Philadelphia. 18S4), pp. 862-65; Mitchell, History of Bridgm^ater, p. 57; Carl VV. Mitman, Dictionary of American Biography, s.v. 'Orr, Hugh." 6. Hurd, History of Plymouth County, p. X65. 7. John Adams Vinton, The Vinton Memorial (Boston, 1S58), pp. [47-48. 8. Dunlap, Hixtory ofthe Arts of Design 2:383; Ralph N. Warner, manuscript notes on Bass Otis, Sept. 2
This background would have given Otis technical skills; he may also have found it quite natural to experiment with mechanical processes, including engraving and lithography. In fact, like his brother Melville, Bass Otis was an inventor. In 1815, he patented the perspective protractor, a device to aid artists.'" The notebook at the Society contains additional evidence of such interests; on page 80 ofthe manuscript are several drawings of a small spring- wound circular saw described as 'Stewarts self operating saw for surgical purposes,' and on pages 26 and 27 are instructions for a chemical process for making molds. This family history can also explain Otis's occasional use of mills as subject material for his art. In fact, one of his most famous paintings is a large scene of^ Foundry />; Neiv England; with Opera- tives, &c., first exhibited at the Pennsylvania Academy Annual Ex- hibition in 1815 and frequently shown during Otis's lifetime. ' ' Although Bass Otis was not destined to become part ofthe fam- ily businesses, his artistic career may have had commercial origins. Dunlap reports that Otis learned to paint from a coach painter. However, Otis's nephew William Vinton, Jr., who lived for a time in Otis's household, said that Otis studied for almost three years with Gilbert Stuart in Boston. ' • Ods eventually left Massachusetts for New York City to establish his career as a painter. Dunlap says that Ods arrived in New York City in about 180H, when he would have been twenty-four years old. There is a traditional story that while in New York Otis worked with the painterjohn Wesleyjarvis. A portrait by Otis of Jarvis has been assumed to have been painted in New York in 1808, but Jarvis's biographer Harold E. Dickson thinks the portrait may have been painted later—perhaps as late as 10. Ods received a patent for the protractor on March 14, 1815. See A LM of Patents Granted by the United States from April 10. 1-^/0 to December ^i, Í^|Í (Washington, 1S72), p. 151). According to D. M. Stauffer, American Engravers upon Copper arid Steel (New York, 1907), 1: 196, it 'was highly commended by Sully, Birch, Lawson, Tiebout, and others.' 11. This paindng is owned by the Pennsylvania Academy of Fine Arts in Philadelphia. 12. Dunlap, HtOoryo/f/ic^ríío/DM/gT), 2:237; Philpott, interview with William V'inton, Jr. Whether or not the story about Stuart is true, Ods was undoubtedly one of many painters who in later years produced copies of Stuart's paindngs. IÎ. Harold E. Dickson, Join Wesley Jarvis: A?nerican Painter (New York, 1949), p. 126. The Notebook of Bass Otis 185
There is at least one indication that by 181 o Otis had achieved some reputation as a professional artist. It was in that year that John Rubens Smith 'arranged a meeting of artists in Boston, in- cluding Stuart, Allston, Bass Otis, and J. R. Penniman, to fonn an academy of the arts. Apparently the only result of the discussion was a resolution that it would be an admirable thing to do.' ' '* Otis's move to Philadelphia in i H1 2 seems to have set the stage for further developments in his career. ' ^ According to Otis's nephew William Vinton, Jr., Otis took letters of introduction from Gilbert Stuart with him to Philadelphia."" It is recorded that he was elected a memberoftheSociety of Artists ofthe United States in 181 2, and exhibited eight portraits in the Pennsylvania Academy Annual Exhibition in the same year.'^ A reviewer of this exhibition com- mented favorably on the work of Otis, calling him 'a young painter of very promising talents. We perceive in his works a strength of character, force of effect, and correctness of likeness, that certainJy would do credit to artists of more experience: and there is no doubt that, with proper application, Mr. Otis will become a very distin- guished portrait painter.' ' "^ He was elected to the Columbian Soci- ety of Artists in 1HIÍ, and to the Pennsylvania Academy ofthe Fine Arts in 1S 24. His paintings were included in the exhibits of these and other organizations throughout much of his professional life. "^ In 1813, Otis married Alice Pierie ( 1796-1H42), the daughter of 14. AÍ. & M. Karalik Collection of American Water Colors & Drawing tSoo-iSj^ (Boston, 1962), 1:276. 15. Ods begins to appear in the Philadelphia city directory in ] H i J . It is interesting to note that when Otis left New York at this time, Dunlap moved into an apartment on Tryon Row which Ods had vacated. Dunlap, History of tbe Ans of Design, i:!72. iCi. Philpott, interview with William Vinron,Jr. 17. Gainor B. Davis, 'Bass Ods, Painter, Portraidst and Engraver,' in Bass Otis: Painter, Portraitist and Engraver, p. 13; Anna Wells Rudedge. ed. and comp.. Cumulative Record of Exhibition Catalogues, the Pennsylvania Academy ofthe Fine Arts {^h'i\iae\^\Ù3, ri;5ï),p. 157. iH. G. M., 'Review ofthe Second Annual Exhibidon,' The Port Eolio, n.s., 8 (1811): 15. ly. Davis, 'Bass Otis,' pp. 13, iH. For lisdngs of exhibidons including works by Ods, see James L. Yamell and WiUiam H. Gerdts, comps.. The National Museum of .American Art's Index to American Art Exhibition Catalogues (Boston, 1 yKfi), 4:2644-41'); Cumulative Record of Exhibition Catalogues, the Pennsylvania Academy of tbe Eine Arts, pp. 157-59; Robert F. Perkins, Jr. and William J. Gavin III, comps., Tbe Boston Atbenaeum Art Exbibition Index (Boston, i(;Ho),p. ]tt(r. National Acade?ny of Design Exhibition Record, /fci-zirt« (New York, ii/4î), 2:5«, Miry Bsrúen Cowdrey, A?nertc:an Aciidnny of Ei7te Arts and Ajnerican Art Union Ejchibiün Record, iH 16-18^2 (New York, 1951). P- ^77- 186 American Antiquarian Society
Robert Pierie and Susanna (Armstrong) Pierie. The first of their six children, Clarissa V. Otis, was bom in 1815 and died in [859. There were three more daughters: Susan P. Otis ( 18 r 6-H3), Maria W. Otis ( 1818-52), and Ehza P. Otis ( 182 2-45). A son Josiah, bom in 1820, died at the age of four, and another son, born in Î8Î7, died in infancy. None of Otis's children married, and only Susan survived her father, helping in later years with his accounts,'" Considering the size of the family and the fact that Otis main- tained his studio at home, the household must have been a busy one. Eurther contributing to the activity were occasional visitors, as well as the members of Otis's extended family who would some- times join his household for a period. In Philadelphia, Otis's nephew Ralph N. Warner lived with the family on and off for ten years, and Otis taught art to Ralph's brotber William Warner, Jr. Later, when the Otises resided in Boston, William Vinton, Jr., the son of one of Otis's sisters, lived with the family. Vinton later recollected the frequent occasions on which Otis would be joined by another portrait painter, Alpheus Chapin, for sessions on the violin: 'Bass Otis wasn't much ofa player... but he was very enthu- siastic over music' The federal census for 1850 also lists 'Eliza Pierce'—probably Otis's sister-in-law Eliza Pierie—at the same address with the Otises. In Philadelphia, Otis was in contact with two first cousins, Isaac and William Otis, who 'made life easier for him in the Quaker city.'^' As the head ofa sizable household, Otis sometimes resorted to bartering his skills as an artist to support his family. One notebook entry records his way of paying for his children's education by painting the portrait of the principal's son (p. 17). Yet another reveals his use ofa similar system to provide them with the social skills required in that time: 'Mr. Barkley began instrucdng my Children in musicjany 19th 1836 & I also gave him lesens as a
20. E. L. Clark, Record of Inscriptions, Christ Church, Philadelphia (Philadelphia, 1H64), p. 322; Warner, manuscript notes on Bass Ods. 2 I. Wamer, manuscript notes on Bass Ods; Philpott, interview with William Vinton, Jr.; U. S. Census, 1850, Boston, Ward to, p. 376; Mitchell, History of Bridgewater, p. 26^. The Notebook of Bass Otis 187 compensation for 6 month tuition of them—putting my instruc- tions against his teaching ... the instrument' (p. 41). Bass Otis lived in Philadelphia from 1 Hi 2 to 18^7, but from that point on, it becomes more difficult to reconstruct the artist's move- ments. It also becomes easy to understand the source of the confu- sion about the places where Otis lived and worked. There were a few periods in Otis's life —and the period beginning in 18^7 was one of them —when he seems to have painted in a number of different places within a relatively brief space of time. Despite all of this movement, however, there is no evidence that Otis ever worked as an itinerant portraitist. What information is available suggests a different explanation: Otis and his entire family moved several times, but on occasion he would also visit other towns and make brief stays while completing commissions." Otis briefly relocated from Philadelphia to Boston in 1837, en- tering four works in the Boston Athenaeum Art Exhibition ofthat year.'' Several entries in the notebook show that he was back in Philadelphia in 18^8 (pp. 42,44, and 48) and during the same year, Otis opened a studio in Wilmington, Delaware. By 1839 he had moved there, and he stayed at least a year.""* Even while living in Wilmington he returned to Philadelphia to paint portraits of a family there (p. 50). In 1839 and 1840, Otis was listed in the Phila- delphia city directories at the same address he had lived at in 1837, and so the relocation may never have involved his whole household. The directories show that Otis moved again to Boston in about 1846, and lived there or in nearby Roxbury until 1857 or 1858.''
22. For example, page 9; of the notebook contains a list of nine portraits painted in Baltimore while Otis was a resident of Philadelphia, '['here is also evidence of a visit to New York in 1S2ÍI, when a lithograph drawn by Otis was published (this is discussed in more detail below), and Otis also exhibited three portraits {National Academy of Design Exhibition Record, 1826-iSño, 2:58). 2 Î. Perkins and Gavin, The Boston Athenaeum Art Exhibition ¡nde.x, p. 106; Otis is also listed in the Boston City directory for iMî?. 24. Davis, 'Bass Otis,' p. 21. 25. The editor has been unable to find confirmation of the statement in Davis, 'Bass Otis,' p. 2 2, that Otis moved to New York in 1H45. Otis consistently appears in the Boston city directories from 1H47 to 1857-58, but his nephew William Vinton, Jr., stated that Otis 188 American Antiquarian Society Otis appears again as a portrait painter in the Philadelphia direc- tories from 1859 to IS61, the year of his death at the age of seventy- seven. Although death notices appeared in several Philadelphia newspapers, no obituary was published despite the fact that Otis had painted portraits of many hundreds of Philadelphia's citizens.^"^ The notebook shows clearly that anyone who assumed that Otis's departure from the family mills of East Bridgewater rep- resented also his final departure from the world of commerce would be wrong. Otherwise, what is one to make ofthe following plan for a work which is included in Otis's notebook: 'a chamber, with a Lady who has been reposing on a couch tbe Flames breaking into the chamber a Columbia Hose Member bearing the lady out of danger, and a Phoenix Hose Member coming into the door with a branch pipe in his hand to which is attached the Hose' (p. 44)? The notebook makes it clear that art was not just Otis's life, it was also his living. If Otis's accounts ofthe prices of paintings and the amounts of the bills due him serve to remind us ofthat fact, it may be easier for us to understand his great productivity as a portrait painter, the variety of his subjects, and the rather remarkable number of media in which he worked. Even a single page ofthe notebook can attest to the industry and ingenuity he exercised to sustain his career. For example, entries for 1819 (p. 2) show him making a has relief copying a painting of the Washington family for a printer, doing one engraving of the Holy Family for a printer and four of 'Fat Cattle' for 'a Company of Butchers,' offering a portrait in trade to a framer, finding *silk and Trimmings' to make 'A Flag for Capt Guires Company,' and painting portraits for a variety of lawyers, sea captains, and merchants. The business side of Otis's hfemay even provide a way of think- ing about stylistic elements in his work, for the comments in the
lived at two addresses in Roxbury for a total of three years. See Philpott, interview with William Vinton, Jr. 26. Otis died on November 3, 1861. Death notices appeared in the Philadelphia Inquirer, November 4, 1861; Philadelphia Public Ledger, November 4, 1861; Philadelphia Press, November6, i86i. ,, , The Notebook of Bass Otis 189 notebook remind us that those attempting to win a living through art are not always free to pursue the dictates of a 'muse,' but must be conscious, instead, of the need to win the ultimate approval of the customer. In this way, the notes and accounts Otis has left us can provide some insight into the synergistic relationship between the aesthetic and business dimensions of the career of a working artist. On the basis of the notebook and other surviving evidence, it would seem that Bass Otis earned his living primarily by producing portraits. In the chief period covered by the accounts (1819-26), Otis's fee was typically between $20 and $30 for a portrait, with higher rates for larger pictures. A discount might be given for two or more portraits for the same customer. Otis was also somedmes paid to make an additional copy of a portrait on behalf of a friend ofthe sitter. One of the greatest trials of a portrait artist's life must be the unwillingness of the customer to accept the faithfulness of the painted image. Otis was no exception to this rule. His notebook occasionally records reactions such as the following: 'Mr Perrots remark on his sisters Portrait neck too long head too round & the eyes [wjrong.' (p. 75). One senses the internal tension between the proud artist and the keen businessman with respect to such matters when reading Otis's notebook entry entitled 'Rules by which the Painter is to be governed in future.' Otis argued that the fault may lie in the subject rather than in the painter, for 'All People cannot make Eaqually strong Likenesses as they have not eaqually carac- teristic features and expression.' He even blamed those ladies who presented themselves 'in dresses they have not often been seen in.' After all, he wrote, 'no Painter is sufficiently great as to affect im- possabillities.' In this particular instance, his main concern seems to have been financial rather than aesthetic. Having complained ofthe unreasonable demands of sitters, Otis came to the following conclusion: 'Payment is expected on the Delivery ofthe Paintings. Strangers from a distance must have on the first sitting a sufficient garentee for to insure the payment when finished' (pp. 36-58). 190 American Antiqtiarian Society However, while Otis expected to be compensated for his work and was mindful ofthe demands of his customers, he clearly con- tinued to regard his paintings as art rather than simply as products. On page 45 ofthe notebook in a piece entitled 'Criticism is Glall [Glass] Ware' Otis indulged himself in the luxury of expressing his feelings in couplet form about the paying customers who claimed to know more about art than the painter himself: 'Go welthy Fool study to be wise/Come not here to criticise.' Otis went on to take refuge from the criticism of clients in the idea ofthe permanence of art, engaging in the kind of word-play with which artists have consoled themselves through the centuries: 'The work you spend your/breath & wit upon/will last for ages after/you are gone.' Despite his somewhat exasperated comments on this subject, Otis seems to have enjoyed a strong reputation as an artist who could please his customers by reproducing a good likeness of his subject. This may explain why, according to Otis's nephew, the artist 'was in great vogue for the painting of the portraits of people afrer death, usually from descriptions of relatives and friends.'^'' One frequently encounters in the notebook the annotation 'afrer death' or 'corps' next to the name of a subject; these refer to por- traits which Otis was commissioned to paint in order to preserve an image of someone who had recently died. In addition to Otis's skill at painting the deceased from verbal descriptions, the fairly common practice just a few decades later of photographing corpses suggests the possibility that Otis used the corpse as a model. Further support for this theory comes from Otis's use ofthe term 'corps.' Would he use this explicit term if he was simply painting from the descriptions of relatives? The need to work in a timely fashion when painting bodies before burial might lead one to wonder whether Otis made death masks on which to base his portraits. In fact, we know that Otis did make casts of some of his portrait subjects; however, it is not certain
27. Philpott, interview with William Vinton, Jr. This story has had widespread circula- don because it was quoted by Charles H. Taylor, 'Some Notes on Early American Lithog- raphy,' Proceedings of the American Antiquarian Society 32 (1922): 6y. Fig. 2. Otis's accounLs for portraits and other work, The Notebook of Bass Otis, p. 4, •¡V'i X 4'/2 inches. American Antiquarian Society. 192 American Antiquarian Society whether these were of living or dead subjects. The notebook con- tains only one case, that of Samuel Clark, in which a cast is followed by a portrait 'after death' (p. 15). Interestingly, Otis's portrait of his own family includes the image of a bust of his dead son Josiah.'^ It is apparent from the notebook that portraits of the deceased were a significant part of Otis's trade; they also generated addi- tional business. Sometimes, as in the case of the family of James N. Barker, mayor of Philadelphia, Otis was called upon to paint portraits of living family members after completing his depiction of the deceased (fig. 2). The death of a loved one undoubtedly worked as a reminder of the need for some kind of permanent memento of family life. Otis's business as an artist also benefited from the desire of people to have mementoes of great events and famous personages. In order to meet this demand, Otis produced a considerable num- ber of copies of both his own works and the works of other artists. The notebook records orders for portraits of George Washing- ton, the Washington family, and a painting of Washington C?'oss- ing the Delaware decades before the famous painting by Emanuel Leutze. Napoleon's death in 1821 seems to have generated a healthy market for portraits. The account book lists a total of six paintings of Napoleon by Otis; those with an identifiable source are copies of Jacques Louis David's Napoleon Crossing the Alps. On occasion, Otis regarded these copies as worthy examples of his work and placed them in public exhibitions.^''' Such displays were commonly offered as a species of popular entertainment. For example, it is reported that 'Ods exhibited copies of Vemet's Storm and Calm in Vauxhall Garden in 1817.'"' Some of Otis's paintings were specifically produced for these kinds of presentations. Accord-
28. This painting, which is reproduced in Bass Otis, Painter, Portraitist and Engraver, no. 5 Î, is owned hy Mrs. Walter Beinecke, Jr. 2y. See for example copies of a portrait of Samuel Adams by Copley exhibited at the Pennsylvania Academy Annual Exhibition in iXiH, and a Portrait of a l^dy after Stuart, in the same academy's exhibition of 1X3H. See Cumulative Record of Exhibition Catlogues. the Pennsylvania Academy of the Fine Arts, pp. 157-5H. 1(1. J. Thomas Scharfand Thompson Westcott, History of Philadelphia, lóop-iSS^ (Phil- adelphia, 1HH4), 2:1052. The Notehook of Bass Otis 193
ing to Virgil Barker, 'In 1818 a museum in Philadelphia charged twenty-five cents extra for viewing a room in which were gathered statues from France, ten anatomical wax figures. The Handsome Danae, Wertmülíer's Venus and Wood Fauns, and paintings of bath- ers by Ods and Bodet.' ' ' It is not difficult to imagine that anatom- ical figures and paintings of nudes might constitute a popular diversion; one assumes that it was profitable as well. When successfiji, exhibitions could, of course, work to the ad- vantage of a professional artist in a variety of ways. In some cases, he might profit from the direct sale of tickets. For example, page Í9 ofthe notebook contains an 1834 list of ticket holders in the 'Adam and Eve Company.' This probably refers to an exhibition of a picture of Adam and Eve, 'full size in the garden of Eden,' believed by Otis's nephew Ralph N. Warner to be the largest painting Otis ever completed." Interestingly, the list contains the names of a number of people who also appear in the notebook as Otis's portrait customers. This points out yet another benefit of exhibitions: pubUcity which might entice new customers while further enhancing one's stature among former clients. In some instances, exhibitions functioned simultaneously as sales galleries. On page 78 of his notebook, Ods lists 'Pictures delivered Sml Kenedy' for 'The Ardsts Associadon in Chesnu[t] St.' An ad- verdsement which appeared in the Philadelphia Directory and Regis- ter, for i8i(f tells the remainder ofthe story: THE ASSOCIATION OF AMERICAN ARTISTS HAVE OPENED A ROOM FOR THE SALE AND EXHIBITION OF Amedcan Works of Art, in Painting, Sculpture, Architecture, Engraving, Drawing, &c. &c. at SAMUEL KENNEDY'S No. 72, Chesnut Street,
31. Vergil Barker, American Painting: History and Interpretation (New York, i y^n), p. 333. 12. Warner, manuscript notes on Bass Otis. Warner says the painting 'was sold to a syndicate and went to New York.' Adam and Eve may actually have been intended for the same t>'pe of audience as Otis's bathers. Less than twenty years after the Vauxhall Garden display, William Dunlap wrote, 'Our own people now flock to see the naked display of a Parisian hired model for the painter's study, and an English prostitute in the most voluptu- ous attitude, without a shade of covering, enticing the man to sin; a perfect Venus and .\donis, under the names of Adam and Eve, and called "a moral picture.'" Dunlap, History of the Arts of Design, 1:318. 194 American Antiquarian Society
Where visitors may behold the advanced state of the arts in this country, purchase Paintings, Prints^ or Drawings, and where any person desirous of having any thing done in the FINE ARTS, may see speci- mens ofthe abilities ofthe different artists in this city, know their ad- dress, prices, &c. Single Admission 25 Cents. But as frequent changes and additions will take place from sales and increase of specimens, single tickets of free admission for the year 181 y may be had for Two Dollars each. Tickets of free admission for a whole family for the year 1H19, at Four Dolíais each. <¡3-Every branch in the Carving, Gilding, Looking Glass manufacturing and Framing, executed in the newest style, and on the most reasonable terms. ' ^ Otis sent Kennedy portraits of Jefferson, Monroe, and Adams as well as two still lifes, apparendy on consignment. Images of ducks and arrangements of apples and nuts appear to have been more popular than pictures of politicians that year, for the Jefferson and Monroe are noted as 'returned' while the still lifes are marked as sold. Who knows whether any other commissions resulted from this attempt to unite 'the different artists in this city' with potential customers? Together, Otis's notebook and Kennedy's adverdse- ment provide a nice glimpse into some of the ways in which an exhibition could help an artist earn his living. Other kinds of public entertainments also provided Otis with business. In the early nineteenth century, large transparent paint- ings were often produced for temporary purposes: they were used for theatrical events and also as window decorations for buildings which, during celebrations and other commemorations, would be adorned with large depictions of famous people or historic events. ** Otis's accounts include a number of references to 'trans- parencies.' Those on pages 33 to 35 ofthe notebook appear to be 31. John A. Paxton. The Philadelphia Directory and Register, far //tii) (Philadelphia, 18 j 9). In addidon to operadng the looking glass business, Kennedy was a sign painter, and a publisher and seller of engravings. See H. Glenn Brown and Maude O. Brown, A Directory ofthe Book-Arts and Book Trade in Philadelphia to ¡SJO (New York, 19Í0). p- 7<>. In 1820 Kennedy published a portrait of Andrew Jackson (StaufFer KM 2) in company with J. B. Longacre and Joshua Shaw as 'Managers & Trustees for the Associadon of American Anists.' 34. R. S. Guernsey, Nev.' York City and Vicinity in the ífaro/zí/j-'/í (New York, 1889), '•37.S-76; i:4ÍÍ4-94, offers interesdng descripdons of the decoradon of buildings with transparencies and lights. The Notehook of Bass Otis 195
in connection with some specific event, perhaps the celebrations surrounding Lafayette's visit to Philadelphia during his return to America in 1H24. Dunlap tells us that Otis was involved at least with the planmng for, and possibly the painting of, transparencies on that occasion: 'Summer came and La Fayette, the nation's guest, came. Transparencies were wanted, and [Thomas] Cole got some of this work to do, by an introduction to Bass Otis.' '^ The notebook also mentions flags painted by Otis. When Otis advertised himself as a portraitist in Wilmington in 1S3H, he stated, that 'he has had much experience in painting standards. Banners and Transparen- cies, and will endeavor to give satisfaction in the same.'^^ Interestingly, without intending to do so, Otis also may have sometimes helped the careers of other working artists. Because of the popularity of Otis's portraits, they were not infrequently copied by engravers for illustrations in publications.'^ However, in the period afrer his arrival in Philadelphia Otis himself took advantage of the market for engravings, turning out work on a variety of subjects. His engravings include portraits of private individuals, a religious scene, and even images intended as com- mercial advertisements. For example, page 2 ofthe notebook in- cludes IK19 entries for an aquatint engraving of Murillo's The Holy Family for John Kneass, for which Otis was paid $40 while also retaining possession of the plate. He also records there '4 Plates of Fat Cattle for a Company of Butchers.' In this same general period Otis did an aquatint engraving of Dr. Benjamin Smith Barton (fig. 4), and the notebook shows the disposition of copies
35. Dunlap, History of the Arts of Design, 2:359. 36. Davis, 'Bass Ods,' p. 21. 37. Portraits by Ods were copied in Joseph Delaplaine, Repository of tbe Lives and Portraits of Distinguished Aîttericans (Philadelphia, 1816-1H), which is discussed below; John Sander- son, Biograpby ofthe Signers to tbe Declaration of Independence, i; vols. (Philadelphia, 18 2 Î- 27); Vicesimus Knox, Elegant Extracts, or. Useful and Entertaining Passages, 6 vols. (Boston, ca. laifiyjohnE.HM,¡\Ie7noirsof Eminent Perso7is,i!>ith Portraitsand EaiSimiles(Pi\ihdeiphh, 1827); Ashbell Green, Memoirs ofthe Rev. Josepb Eastburn (Philadelphia, iSiS); James Thacher, American Medical Biograpby: or Me?noirs of Eminem Pbysicians Wbo Have Elourisbed in A?>terica (Boston, r H 2 8); Ezra Sdîes Ely, Visits of Mercy, or Tbe Journals of tbe Rn'. Ezra Stiles Ely, D.D., 2 vols. (Philadelphia, 1H29); and James Herring and James B. Longacre, Tbe National Portrait Gatle*-y ofDi.<^inguÍshedA?nerÍcam,.ivoh.,(New\oTkanáPWúade\pW\a, 196 American Antiquarian Society ofthe work (p. 82). Other aquatints which are probably from this period include a portrait of Dr. Phillip Syng Physick and Playing at Draughts, after a painting by I. Burnet. Two unsigned mezzo- tints, of the Reverend William White and the Reverend Joseph Eastbum, are based on portraits by Otis and their unusual style is quite similar to the few known engravings signed by Otis, leading Stauffer to attribute them to Otis.'** An unusual subject of an engraving which can be associated with Otis is one which he did not himself execute, but which was based on a drawing he pre- pared. In IH [ H the American Philosophical Society published a description of ancient animal bones, accompanied with engravings from drawings by Otis, Charles A. Le Soeur, and Charles Willson Peale.'" Otis's readiness to create these paleontological sketches provides further evidence of the resourcefulness he cultivated in his professional life. Of course, while Otis's versatility was at least in part a response to his need to earn a living, even those artistic ventures which seemed to be most commercial in nature could not guarantee a profit. Although the plate of The Fat Cattle commissioned for an advertisement is marked down as a 'total loss,' Otis was not so easily to be deprived of his earnings. On the same day that the loss is entered in his notebook, he also notes the delivery of twenty-four 'Prints of The Fat Cattle' to the art dealer, Samuel Kennedy 'to sell upon commission at 3 3'A percent' (p. 90). The fact that Otis would turn to Kennedy at such a moment is not surprising: one had to use professional contacts to survive as
î8. No copies of the The Fat Cattle are now known, although there is an account of the distribudon of copies on page yo ofthe notebook. The other engravings listed may be found in Stauffer or in Mantle Fielding, Afnerican Encaven Upon Copper and Steel (New York, iyiy). The Amedcan Antiquarian Society's Catalogue of American Engravings database provides addidonal access to this material. ÎV. Casper Wistar, 'An Account of Two Heads found in the Morass, called the Big Bone Lick, and presented to the Society, by Mr. Jefferson,' Transactions of the American Philosophi- cal Society, n.s., I (1ÍÍ1K): 375-Ho. Le Soeur was himselfa pioneer in American lithography. He is described as experimendng with the technique in the árdele announcing Otis's work, 'Lithography.' Analectic Magazine 14 (iKtij): M, and his lithographs in ú\t Journal of the Academy of Natwal Sciences 3 ( 1 Si 3) are regarded as among the first accomplished examples produced in the U.S. See Joseph Jackson, 'Lithography in Philadelphia.' in his Etuyciopedia of Philadelphia (Harrisburg, 1931-1933), The Notebook of Bass Otis icy
a working artist. In particular, it helped to know people who could bring together the worlds of art and money. Kennedy did this by providing a venue where potential customers could meet artists. Joseph Delaplaine, who also figures in Otis's notebooks, attempted instead to package extraordinary artistic/commercial ventures. Delaplaine, a publishing entrepreneur who had earlier initiated several projects such as an American edition of the Neu? Edinburgh Encyclopaedia in 18 r 2, issued a prospectus in 1814 for Delaplaine V Repository of the Lives and Portraits of Distinguished A?nericans. The Repository was planned as a specimen of fine printing which was to contain biographies and engravings of leading figures, and Dela- plaine wanted the engravings to be done from reliable like- nesses. To this end, he arranged for portraits to be painted of some of the subjects.-^" On July 29, 1815, Delaplaine wrote to Otis asking him to paint 'the Honble. De Witt Clinton—Revd. Dr. John M. Mason —George J. Patten of Hartford —Govr. [Caleb] Strong- Timothy Pickering—Gilbert Stuart—& John Cotton Smith Govr. of Connecticut, on Canvas of the size of [William Branch] Giles' portrait you painted for me.' Delaplaine clearly intended that Otis would travel to various cities to execute these portraits, for he added the names of men in New York, Hartford, and Boston with whom Otis could leave the boxed paintings, 'or if you can roll them up carefully, as you have suggested, you may do so.'**' Delap- laine's most significant commission for Otis came in 1816, when Delaplaine traveled south with Otis so that the latter could make portraits of Thomas Jefferson, James Madison, and Dolly Madi- son, and possibly James Monroe.-*' Of all the works completed by Otis for Delaplaine, only that of Jefferson was finally included in
40. An excellent account of Delaplaine's publishing ventures and pardcularly of Deh- plaine's Repository can be found in Gordon M. Marshal!, 'The Golden .\ge of Illustrated Biographies: Three Case Studies.' in American Portrait Prints, ed. Wendy W. Reaves (Char- lottesvitle, ii;H4), pp. 32-45. 4 [. Joseph Delaplaine to Bass Otis, July ly, t KT 5, Delaplaine papers, folder 1, New-York Historical Society. 42. The story of Delaplaine's efforts to have portraits of Jefferson, the Madisons and Monroe painted is told by Gordon Hendricks, '"A Wish to Please, and a Willingness to Be Phiseà,"' American An Journal, 2 (lyyo): i6-2y. 198 American Antiquarian Society the Repository, which ceased publicadon in 1818 after the appear- ance of volume 2, part 1, because Delaplaine lacked enough sub- scribers to support such an expensive undertaking. Delaplaine's next enterprise made a new use of these and addi- donal portraits by Ods, however. In December 1818, Delaplaine issued a prospectus for his 'Nadonal Panzographia,' a gallery of portraits to be opened in Philadelphia. Included was a list of some 150 people whose portraits he had already collected; many of these had been commissioned or acquired for the Repository^'' Page 85 of Ods's notebook contains an entry dated 1818 and headed 'De- laplain's Accompt.' Most of the portraits on Ods's list are also in the Panzographia prospectus. (The fact that Ods has written 'paid' next to only a few paindngs leads one to wonder whether the fail- ure of Delaplaine's Repository had meant a financial loss for Ods as well.) While Delaplaine intended to exhibit works he had previously collected, he was also commissioning Ods to do new paindngs specifically for the new project. For example, he attempted to get permission for Ods to paint an original portrait of Charles Willson Peale, and to copy Peale's portrait of General Anthony Wayne.*^ Delaplaine wasapparently unsuccessful, for Pealeseemstohave dis- approved ofthe project. In addidon to the compeddon it offered to Peale's own Philadelphia museum, which had been founded in 1802, a principal objecdon seems to have been Delaplaine's pre- ferred method of financing the portraiture. Peale complained to a friend: 'They get the Gendemen whom they soHcit to set [sit], to pay for their Portraits, and several Gentlemen have told me that they would not pay for their Portrait to be placed in such a collecdon, as they esteemed it a vanity to pay to get their Portraits and charac- ters published — but Mr. Delaplaine I suppose gets the Pictures, and his Painters the money for paindng them. Thus a good job may be
43. Joseph Detaplaine, Prospectus of Delaplaine's National Panzographia, for the Reception of the Portraits of Di.^ingtiished Americans (Philadelphia, iSi8), p. 15. 44. Lillian B. Miller, ed,. The Selected Papers oï Charles Willson Peale and His Family (y-i&w Haven, 1991)1 I- 57Í*i676. The Notebook of Bass Otis 199 made of it.'"*^ Ironically, Peale's son Rubens eventually acquired the Panzographia, and most ofthe portraits by Otis listed in the note- book were ultimately destined to become part of Peale's New-York Museum, being listed in the catalogue issued about
At roughly the same time as Delaplaine was assembling his Panzo- graphia, Otis was making the experiments with the new technique of lithography for which he holds a place in the history of American art. His name first appeared in print in connection with the process in the fourth number oí xhe. American Journal of Science. The editor, Benjamin Silliman, 'promised for our next Number, a full account of this art, of which we have received a beautiful specimen, A Minerva, executed by Mr. Bates [sic] Otis, an ingenious and enter- prising artist of Philadelphia, who, under the patronage of Dr. Samuel Brown, is preparing to disseminate the productions of his skill and to make this important art (executed with American ma- terials,) extensively useful in this country.'"^'^ The promised discus- sion of lithography did not appear in the following volume of the journal and no copy of this lithograph is now known to exist. At about the same time, however, Otis produced and signed a portrait ofthe Reverend Abner Kneeland to accompany a volume of Knee- land's sermons. Joseph Jackson concluded that this portrait was actually a lithograph and as such the earliest known in America. There has been subsequent disagreement about whether the print is a lithograph or an engraving, but the 'Minerva' sent to Benjamin Silliman is evidence of Otis's work in this area as early as i S18.-^^
45. Charles Willson Peale to Coleman Sellers, January 2, 1819, Selected Papers of Charles Willson Peale iifiyrt. Delaplaine's method is outlined clearly in his correspondence with another ardst, Ralph E. VV. Earl, between Sept. 20, 1818 and April 1 f>, 1 Hiu (R.E.W. Earl papers, folder 2, American Andquarian Society). 46. The National Mmeujn ofA?neTÍcan Art's Index to American Art Exhibition Catalopus,
.\-. American Journal of Science, 1 (1818): 4;i9. 48. TTie portrait of Kneeland (Stauffer 2}H*>) is thefrondspieceofhis,"i S^ on the Doctrine of Universal Benevolence (Philadelphia, r 818). The preface and copyright of this book are dated November ] K18. See Frank N. Weitenkampf, American Graphic Art, rev. ed. {New York, 1924), p. 152. who says the work'was executed on copper in a mixture of line, sdpple and aquadnt.' Jackson, 'Bass Ods,' Dictionary of American Biography argues that the portrait is a lithograph. 2OO American Antiquarian Society
Otis's hthograph published in the Analectic Magazine in 1819 is the earliest known dated example of the technique in America. The image, a simple drawing of a mill and water and signed 'Bass Otis Lithographic,' accompanied an article entitled 'Lithography' in which the author says 'In this number, we present our readers with a specimen oí American Lithography: the design and the execu- tion from beginning to end —from the drawing to the impression inclusive —is by Mr. B. Otis.' The stone on which this lithograph was made came from Munich, and supplied to Otis by its owner, the American Philosophical Society. Otis, whom the author says 'deserves great credit for the patience, perseverance, and in- genuity, which has enabled him hitherto to succeed so well,' may possibly have supplied some details of the chemical and physical process. Page 94 of Otis's notebook contains an account extending over five days for 'Lithographic prints delivered to Mr Ingersol for his Anatectic Magazine.' The number of impressions is not given, but Otis received a total of fifreen dollars for his efforts. Some copies of this issue of the Analectic Magazine contain a different image, of a house and nearby bridge, with the legend 'B. Otis Del. & Sc. AD 1820.' It is likely that this print came with copies sold after the supply ofthe first hthograph was exhausted. The second print bears a stronger resemblance to an engraving than does the
Once established, the spread of lithography in America was rapid. Otis worked with the technique once again in 1826, when Anthony Imbert, New York lithographic publisher, issued a print of the Reverend Joseph Eastburn 'Drawn on Stone by B. Otis.' Imbert, who commenced business in New York in 1825, published lithographs produced by a number of American artists.''" Physical evidence of Otis's work in lithography survives today at Indepen- dence National Historical Park in Philadelphia, where there is a
49. 'Lithography,' Analectic Magazine. 'T"he lithograph faces page 67. 51». John Carbonell, 'Anthony Imbert, New York's Pioneer Lithographer,' in Prints and Printmakers of New York State, ÍÍJÍ-/()./Í^ ed. David Tatham (Syracuse, i9H6),pp. ii-41. The Eastburn lithograph was probably copied by Ods from his own portrait of Eastburn now at the Presbyterian Historical Society in Philadelphia. The Notebook of Bass Otis 201 small stone signed by Otis bearing an image entitled Our Saviour Healing in the Temple, a copy of Benjamin West's Chiist Healing the Sick. This work is undated, and apparently no copies of the litho- graph have survived.^' Otis's career as an artist is by no means fully understood. In the eight years covered in the accounts of 1819-26, well over 300 portraits are listed. Yet fewer than 300 portraits are now known from Otis's entire career, which spanned almost fifty years. It has been suggested that Otis did little painting in the last twenty years of his life,^^ but it would be a mistake to conclude from the absence of later accounts in the notebook, or even from censuses of the surviving known works, that Otis became less active after 1S26. Indeed, the only extended account covering a later portion of Otis's life suggests quite a different situation. A small piece of paper which is with notebook (loose item no. 2) contains dated en- tries which cover a period of less than a month between March 22 to April 16, 1H53, when Otis was sixty-eight years old. The list includes portraits of sixteen individuals. If typical, this would actu- ally suggest a higher level of output than in the [820's. A lifetime of productivity may not have exhausted the drive which originally led the young Bass Otis to turn his back on the family mills to seek out a career in the world of art. We know, for example, that in his later years Otis frequently had Rembrandt Peale to his home as a guest. Both men had been active as lithog- raphers in the early days ofthe art, and, according to Otis's nephew William Vinton, Jr., in their conversations 'both artists would
5 I. 'Our Saviour Healing in the Temple.' accession no. SNKI.DHI. Independence Na- donal Historical Park, Philadelphia. The stone, which is considerably damaged, is approx- imately y.J cm. Ji I i.S cm. It is reproduced in Jackson. Encyclopedia of Philadelphia, 4:1235. Ods's notebook (p. 3) records that he received $611 for'Christ Healing the Sick for Samuel Kenaday.' It is uncertain whether this reference is to the lithograph, although given the price the entry may more likely be for a copy of the West's elaborate paindng, which is now owned hy the Pennsylvania Hospital in Philadelphia. It might be added to this discussion of Ods's lithographic work that Albert Newsam made lithographic copies of two of Ods's portraits by Albert Newsam. The subjects were M. B. Roche (published in 1831) and Stephen Girard (published in 1832). See Wendy W. Reaves, 'Preliminary Checklist of Newsam's Portrait LitJiographs,' American Portrait hints, pp. Ill, 130. 52. Davis, 'Bass Ods,' 22. 202 American Antiquarian Society frequently discuss the possibilities of lithography.'^ * We know, too, that in the year before his death Otis painted a self-portrait for Ferdinand J. Dreer which hangs today at the American Antiquar- ian Society (see fig. i). One might question the significance of the notebook of a not particularly celebrated nineteenth-century artist. But perhaps the accounts left by Bass Otis can provide a valuable glimpse of the world behind the canvases. Removed from Bass Otis in time, we view and judge his paint- ings as art. It may be difficult for us to realize the very different value the works may have had for Otis and his contemporaries. A painting we evaluate solely in terms of its coloring or composition may stand revealed by the notebook as a memento moii of a much loved friend. It is clear from the very frequency with which they appear in Otis's accounts that such paintings were often ordered in a desperate attempt to wrest one permanent keepsake from time before a son or daughter, husband or wife, was lost to the grave. In other cases, Otis's portraits of personages such as Washington, Lafayette, and Napoleon supplied his customers with some con- tact with the great events and people of his day. While the bio- graphical and historical information provided by the notebook will never transform a mediocre piece of art into a great one, the recreation of the original purpose and context offers a fresh view of his works. The notebooks may also help us recreate the day-to-day life of the artist himself. One suspects that for Otis art was both a passion and a business. While it may be appealing to imagine the artist alone in his studio wrestling with his art, the notebook provides a much different and more dynamic picture. Bass Otis found his energies claimed by a variety of activities: booking appointments with sitters, making arrangements with frame makers, reading and thinking about the philosophy of art, shipping paintings to be sold 51. Philpon, interview with William Vinton, Jr. On Rembrandt Peale's career as a lithographer, see John A. Mahey, 'Lithographs by Rembrandt Peale,' Antitjues, yy (1970): 236-42, and David Tathara, 'The Penàeton-Moore Shop,' Old-Time New England, 62 (1971): 29-46. The Notebook of Bass Otis 203 on consignment, brooding over customers who had not paid their bills, and distracted by the birth of a daughter or the death of a former president. For all of these reasons, the notebook of Bass Ods can be seen as a valuable complement to his works and the works of other nineteenth-century American artists. If the value of art lies in part in its ability to transcend the limitadons of dme and place, the value of this ardst's notebook may rest in its ability to help restore to us dmes and places which might otherwise be lost forever.
DESCRIPTION OF THE MANUSCRIPT Ods's notebook is a quarto volume 21 cm. x 17 cm. containing forty-eight leaves of laid paper, without watermarks. There is evi- dence that pages were at some point torn out between the follow- ing sets of pages: 22 and 23; 38 and 39 (two leaves missing); 40 and 41 (three or four leaves missing); 46 and 47; and possibly between 70 and 71. The notebook was rebound and repaired in 1978, and it was at this dme that the current page numbers were added in pencil. During rebinding the newspaper clippings and two receipts were pasted on to new endpapers. While pages 1 to 18 of the notebook contain a fairly regular account covering the years i8i9to 1826, Ods sketched and wrote on the pages in the remainder ofthe volume apparently at random. A good example of the unsystemadc nature of Ods's method of making entries can be found in Ods's entries for the engraving of The Fat Cattle, about which he entered informadon on the same day on page 2 and page 90. Ods dated only a few items, and often wrote on the same page at different dmes, as the first two entries on page [ below will show. Thus it is important to keep in mind that beginning with page 19, the only entries which can be dated in the manuscript are those against which Otis has written a date. Other entries on the same page should not be assumed to be from the same period. Although the accounts from i8i9to 1826 in the notebook begin on page 1 as the pages are now numbered, Ods began wridng in 2O4 American Antiquarian Society the book from its other end as early as 1815, turning it over to begin the accounts for 1819. In the central portion of the volume, occasionally a page will contain two notes, one of which is upside down. Mixed in with this material are sketches, daubs of paint left: as Ods tested his brush, and some pages covered with white ground. In order to give this transcription a more logical arrangement, the entries for pages 61 to the end follow page 60 in reverse order. See the note which follows page 60 ofthe transcription.
EDITORIAL METHOD An attempt has been made to provide a literal transcription ofthe notebook. Editorial comments, as well as letters or words which have been supplied because they are missing or illegible, are within square brackets [ ]. Otis's spelling has been corrected within brack- ets only in those cases where his meaning may otherwise be difficult to understand. Words which were crossed out by Otis are included here, but are in italics within angled brackets { ). A principal goal of users of this volume to date has been to link names of people mentioned in the volume with existing portraits for the purposes of identification. For this reason, an index of all surnames occurring in the volume has been supplied, and an at- tempt has been made to identify the people and portraits listed in the volume as far as is possible. The names listed by Otis have been compared with lists of Otis's known works supplied to the editor by the Catalogue of American Portraits and the Inventories of American Painting and Sculpture.^"* Beyond this, the names ap- pearing in the book have been checked against city directories and other biographical sources both as a means of verifying the trans- criptions (given the difficulty of reading Otis's handwriting) and to provide some groundwork for future investigations. It is hoped that the publication ofthe notebook will make additional identifi- cations possible.
54. The editor is grateful for assistance from the staft of the Catalogue of American Portraits, Nadonal Portrait Gallery, Smithsonian Insdtudon, Washington, D.C., and the Inventories of American Paindng and Sculpture, Research and Scholars Center, Nadonal Museum of American Art, Smithsonian Insdtudon, Washington, D.C. The Notebook of Bass Otis 205
It should be bome in mind, however, that the fact that a name appearing in Otis's notebook also appears in the Philadelphia city directory of roughly the same date is not a guarantee that the customer or subject is the person listed in the directory. Problems can arise, for example, with fathers and sons bearing the same name, and ultimately the additional physical evidence of a portrait in conjunction with the accounts will ofrer the best prospects for a definite identification. For this reason, the notes indicate several levels of certainty. In cases where there is a good degree of cer- tainty—as with celebrities, or when both the complete name and occupation listed by Ous match those given in the directories— names are supplied in the footnotes without hesitation. Alore com- monly, Otis lists only a surname and occupation, or a full name, and in these cases, the identification is accompanied with a symbol '§' indicating that the attribution appears likely but is not regarded by the editor as certain. Less likely matches are indicated as such, but generally the editor has suggested no name when Otis has only entered a fairly common surname. Otis's spelling, which is neither orthodox nor consistent, adds to the difficulties of identification. For example, Otis did business on a number of occasions with Samuel Kennedy. Kennedy's name appears in the account book five times, and is spelled five different ways—all incorrect.^' Many names are spelled phonetically. On occasion, Ous wrote the wrong letters; at other times he omitted letters or whole words. Cross-references have been included in the index whenever possible, but users are encouraged to look care- fully at the index for variants ofthe names they seek.
55. 'Kenaday' (p. 3); 'Kennada' (p. 33); 'Kenedy* (p. 78); 'Kaneda' (p. 8î); 'Kennady* (p. (^i). 2O6 American Antiquarian Society
THE NOTEBOOK OF BASS OTIS, 1815-1854
[newspaper clippings pasted to inside front cover: 'Prices of Stocks' and 'Bank Note Exchange,' both apparently from the VhiháeiphÍA FreeTnan's Journal, JanuAry 4,
Jany 7th 184 2 lent [sent?] 3 prints of Wilson to Ashton'
181Q A List of Names & Prices of My Portraits By Whom Fraimed Pike' Mrs. Gil mer 30.00 paid EarP Mr. [or Mrs.?] Wardel 28.O(td[itt]0 Pike Dr Browns two Children 40.00 paid Pike Mrs. Crain & Daughter 40.00 paid DrVandike&Wife 4U.(Xj IH paid Dr Vandike's Mother 30.00 paid Revd.DrMore pike Mr Gilmore Pike Mr Gilmore Pike MrCaldwell & Wife 30 each 60.00 paid Took a Copy of West's Picture** for Mr Sheepshanks 50.00 paid
1. Thomas B. Ashton? See page 68 ofthe manuscript. 2. Marinus Willett Pike, carver and gilder (John A. Paxton, The Philadelphia Directory and Register, í-M'/(i [Philadelphia, i8i<;], hereafter referred to as iHujDir). 3. James Earl, carver and gilder and gallery of paintings (rSiy Dir.). 4. Probably 3 copy of a paindng by Benjamin West (1738-1S 2ij). 5. Jesse Waterman, tea merchant and teacher of French and English (iHiy Dir.)§ 6. —Brenan, gendeman (1819 Dir.)§ The Notebook of Bass Otis 207
Pike JosephWood^&Wife 40.00 Paid Pike Caty Wood 2o. Pike Dr Brown of Alabama 3o.(K> Paid Pike Painted a Washington Family picture X for John Kneas^ 5o.(H)Paid I took Back /Engraved in Aquatint the Holy 11 Fach the plate "^ Family''forJohnKneas 40.0(1 paid AirpiX 1 Mr Kenworthy. '" in trade 30.00 paid rSio Engraved 4 Plates of Fat Cattlel total For a Company of Butchers. J Loss Copyed a Portrait for Capt Coffin ' ' jo.ooPaid Pike Mrs Evings trade with Pike 3o.(K> Paid Pike LawyerScottofNew Brunswick jn.ooPaid Pike Mr John Brown of Providence R.I. jo.o<ïPaid Pike Capt. Wallingtons" Daughter jo.ooPaid Mr John Abbotts ' ' Daughter 30.00 Paid found silk & A Flag for Capt Guires Company óo.ooPaid Trimmings Pike Charles Evins'-* 30.00 Paid Pike Three Half Lengths forjames 108 .(K) Paid Nevins'' Vandal Mrs Lide 35.00 paid Pike PhilipMingle'^' 30.00 paid Vandal Four Portraits for Mr Latte 7 5.00 paid 7. Joseph Wood, merchant (1819 Dir.)§ H. John Kneass, copperplate printer ( 1819 Dir.). 9. This engraving, (Mantle Fielding,/Í7«enfí/n Engravers upon Cop/jfrííMí/.Cffc/[Philadelphia, 1917], no. I ! 6ii) is copied from a paindng by Bartolomé Esteban Murillo. M). John Kenworthy, painter (] H ly Dir.)§ 1 ]. Albert Coffin, sea captain (iHnf DÍr.)§ 12. Edward Wallington, sea captain (i8ii;Dir.)§ H.John Abbott, cooper, or John Abbott, currier (both iííi9Dir.)§ 14. Charles Evans, counsellor at law (iH 19 Dir.)§ A portrait of a Charles Evans by Otis dated TS32 is owned by the Historical Society of Pennsylvania. Tliis information is from a listing of Bass Otis's known paintings very kindly supplied to the editor by the Inventories of .American Painting and Sculpture, Research and Scholars Center. National Museum of American An, Smithsonian Institu- tion, Washington, D.C. The listing will hereafter be referred to as IAP. li.JamesNevins, exchange broker ([fir»; Dir.)§ 16. Philip Mingle, brewer (iH]9 Dir.)§ 2O8 American Antiquarian Society Ip.3] Pike Lawyer Brown'" Pike Copy of Dr Shipping'^ for Mr Livingston 15.00 Paid Pike Geni. Lide 2 5. 17. David P. Brown, or Peter A. Brown, both anomeys at law (1819 Dir.)§ iH. Joseph G. Shippen, M.D. (Edward Whitley, The Philadelphia Directory and Register for i!Í2o [Philadelphia, 1821)], hereafter referred to as 182a Dir.)§ u;. John Y. Clark, M.D. (jKiy Dir.)§ 20. George Ayres, laborer ( 181 y Dir.)§ 21. Francis Markoe, merchant {The Philadelphia Direaory and Register, for 1821 [Philadelphia, 1821], hereafter referred to as 1821 Dir.)§ 1 ¡. Constant Woodman, merchant ( 181 y Dir.), and his wife§ 23. George Bastian, soap and candle manufacturer {iHly Dir.)§ 24. 'I'his painting was almost certainly a copy of Benjamin West's Chrkt Healing the Sick, owned by the Pennsylvania Hospital in Philadelphia. Ods also prepared a lithographic stone of Christ Healing the Sick. See Introduction. 2 5. Samuel Kennedy, 'looking glass manufactory, and where is also held the exhibition ofthe society of American artists, 72 Chestnut,' (i8nj Dir.). 26. Probably Gen. William Irvine, 1741 -1804. According to the biography of Irvine by Chalmers G. Davidson in the Dictionary of American Biography (New York, ïyjï), Otis made a copy of a portrait by Robert Edge Pine. A painting by Otis of Irvine's wife, Ann Callender Irvine, is at the National Society of Colonial Dames of America, Georgia (IAP). 27. Probably Gen. Callender Irvine, 17 74-1841, son of Gen. William Irvine. 28. Armstrong Irvine, d. r 817, brother of Callender Irvine. The Notehook of Bass Otis 209 Ip. 4 See fig. 2.] [any i S Dickinson"' in trade 30.00 paid MrWearofGrenvill [Greenville] Kentucky 15.00 paid Pike Made 3 drawings for Dr Gibson'" 30.00 paid Pike d[itt]o2d[itt]o'' 2o. Pike Mr Wilmingsen for Pike 30.00 paid Neal Wife & Î Children trade KKJ.oopaid 19. Daniel Dickinson, miniature painter (iS2() Dir.)§ ((.. William Gibson, M.D., professor of surgery (1820 Dir.)§ \ r. The meaning of this entry is that Ods made two more drawings for Dr. Gibson. i J. Daughter of James Nelson Barker, 17K4-1 «s», mayor of Philadelphia at the time these portraits were painted§ 33. Possibly Ods's phonedcspelting for thesumame'Maurer,* John A. Maurer, M.D.(i «21. Dir.)§ Î4- Ods did an aquadnt of Rev. Abner Kneeland in 1H1H (David N. Stauffer, American Engravers upon Copper and Steel [New York, i(;<>7|. no. 23K0). 35. Isaac Cleaver, M.D. (1820 Dir.)§ 36. Cit cat (often spelled kit-cat) portraits were larger than the usual portrait, but smaller than haif-length. They generally included the hands. };. BenjaminChew, counsellor at law (i8i(>Dir.)§ 3H. William Hillegas, cashier of Camden Bank ( 1820 Dir.)§ 3y. Ods's portrait of Amasa Mantón, as well as a portrait of Eliza Taylor Mantón, are owned by Mr. & Mrs. Harold G. Bruce (IAP). 40. George Carlton, dealer (iHm D!r.)§ I 210 American Antiquarian Society Miniature for R Latte io.(M>paid Repaired an old picture for Drjones^' 5.00 paid Made a copy of Dr Kollocld' d[itt]o d[itt]o 25.(K>paid d[itt]o d[itt]od[itt]o d[itt]o 25.o()paid Repaired a Portrait of Gilleson I ü.(K) paid Mr Daveese*" trade 2ü.oopaid July 18 Siteled [Settled] with Pike & aave [gave] a dubill [due bill] for 168. taken up Copy of Mrs Nevins 25.0(1 paid Dexter Stone"** 20.00 paid iSwartz-*^& Wife & Child 6o.o George Miner^"' Printer Westchester 25.00 paid Sone [son] of Neals 25.00 paid Mrs Crainsmall size i2.(K)paid Miss Howel Missionary 30.00 paid 41. George Jones, M.D. (1820 Dir.)§ 4.!. The University of North Carolina, Chapel Hill, has in its collection an Otis portrait of Rev Shephard Kosciusko Kollock (IAP). 43. Edward Davies, painter (1 «2« Dir.)§ 44. Dexter Stone, merchant (1820 Dir.)§ 45. J. E. Schwarz, fur and commission merchant (1S20 Dir.)§ 46. Possibly Louise Smith Rolsron. Otis painted Mrs. Rolston and her husband George Rolston. See note on page 14 of the manuscript below. 47. The wife of Charles Chauncey, counsellor at law ( 1K jo Dir.)§ 48. Otis painted several landscapes of the Brandywine river. The 'rase' mendoned here may be a mill race. The Historical Society of Delaware owns one Otis painting entitled Brandywine Mills, and another entitled Lea Mills on tbe Brandyzime. There is also a painting hy the name of Old Brandywine Village, which is in the collecdon of Rumford Lewis (MP). 4y. The wife of A. C. Sword, storekeeper {1820 Dir.)§ 50. Bass Otis: Painter, Portraitist and Engraver, no. 2(1, idendfies this entry with Ods's 1821 portrait of Charles Miner ( 1780- r 865) of West Chester, Pennsylvania owned by the Wyoming Historical and Geological Society. The Notehook of Bass Otis 211 Assisted by Copy of Capt Cushing'' forAyers. 30.00 paid Krimmel^' Mr & Mrs. Simmonds at 40 each 80.00 paid Mr Walkers 2 Children in one piece 4(>.(Kipaid Mrs D Stone 20. Judge Dunlap''" 26.00 paid 40.00 paid Mr & Mrs Knox 3 5 each 7o.(K»paid Dr Leighman of Lazerett'^' Copy of a Miniature of Mr. Lentz 6o.(x>paid Mrs Kelly 35.(K)paid Copy of Mrs Chancey's portrait 35.no paid Dr. Chandler''^ Altered Mrs Engals t o.tx) paid Capt Robinson'^' & Child 60.00 paid Mrs Carleton 2o.(K) paid Drjanway& Wife 50.00 paid Mrjanvier'^" Wife & Brother small in each [p. 8] Copy Dr. Gibson a picture 3 0.00 paid Septr. Pike Alexander Telfair of savanna MrsTownsend 35.00 paid Mr Herman Corps[e] 30.00 paid Pike Mr. Lentz 20.00 paid Pike Miss Tailor Pike 3 pictures copies for Mr. Dickinson 4 Pike Mrs Phisic of Delaware] ThosB Prichett"^ & {Wife) (70) 25.(K) Copy of his Father trade 2(>.f)iipaid Sone [son] of L RThacher^' corps [ej 2(>paid Mr. Ervin corps[e] 2 (»paid MrsAllen corps[e] 2(>paid Mr. Hillard corps[e] 20 paid Copy of Evins Mother 20 paid Pike Copy ofMrs.Rallstons picture in the Widows Asilum""* ço.ooPaid ordered by Mrs Hodg"' & d[ittlo Bucanon^* {Geo. Cky)[}] To altering a picture for David Boyed"' * Mrs. Wivil to alter a picture Pike Revd. Clay's Wife Mr W[?] F Lightner 2 5.(x> paid Natt'** Mrsd[itt]od[ittlo 25.00 Pike MrTWickham 2 at No 2rt5 Market Str. in 6th near Arch Pike Miss Herman 2 5. 72. Thomas B. Prichett, brewer {r 822 DÍr.)§ 71. L. R. Thatcher, merchant ( 1 Hi 3 Dir.}§ 74. Possihly, the Indigent Widows' and Single Women's Society, founded in 1S1 y. See Scharf and Westcott, 2: 1459. 75. Mary Hodge, gentlewoman (iK2i Dir.)§ 71'). Buchannan, widow, gendewoman {1S23 Dir.)§ 77. David Boyd, merchant, tailor (1823 Dir.)§ 7X, Thomas Natt, carver, gilder, and looking glass manufacturer (Robert Desilver, The Philadelphia Directory, for iK'4 [Philadelphia, 1824], hereafter referred to as 1H24 Dir.). 214 American Antiquarian Society Pike Dr Wilkinson^''411 Market Str 35 paid XPike Miss Brown. 25 paid [p. lo] Mrs George Harvey*^ 25 June X Copyed a Picture of Napolion Buonapart in possession of Joseph his Brother by David" ' DrCarMicael 25. paid X Dr Brown 35 paid X DrDuffield**' 25 paid A copy of Earvin's Portrait 20 paid Copied a Picture of Bonaparte for James Craig"' 75. pd. X painted Mrs Bacon .5cl?] MrShott 20. paid {Mr Hart) {small size) Mrs Dupuoy trade 10. {S Pawels) {New Mills) {Newjersey) MrsReed&MrReed 50 paid Mr Baker 30 paid Mr Keller in trade 25 Mr Han in trade «5 each y Mr Huber 3 engaged 9 spoak [spoken] of 20 = 60 or 180 [p..:] X MrGuire 2 5 paid Major Harison 2 5 paid Copy of Mr & {Mrs) Shott 40 paid MrMelisett^^ 35 paid X MrDewolfe a copy of Bonaparte Crossing the alps. 40. paid 79- — Wilkinson, doctor (1824 Dir,)§ 80. The wife of Geor^ N. Harvey, hardware merchant (182 ^ Dir.)§ 8 r. This copy was of a painting by Jacques Louis David, 1748-1825. One of Otis's copies of this painting of Napoleon is owned by Mr. & Mrs. A. Mercer Biddle (IAP). «i.Wm.B.Duffield, M.D. (1821 Dir.)§ 83.James Craig, gendeman (r823 Dir.)§ 84. Francis Melizet, merchant (1821 Dir.)§ The Notehook of Bass Otis To a Fraim ¡frame] ten 10. paid Miss Garrett Mrs[?] Brook 2 5 paid So]d P Brown"' a Bonaparte crossing the Alps at 20 paid Mrs Herman 2 5 paid Jas.Lets[?] into20th 15powellSt.* 2 Pictures 25 each 50 paid MrsKlett 2 5 paid Mr Cloud. forMrsRayberg[?] 30 paid Mr Klett a Bonaparte 30 trade MrKlett 2 5 paid Mrs Savage \ 2 5. paid 25 paid X Mrs Walker 20 paid X Mr Peterson & Wife 50 paid trade r Mr Gray X »•Miss Shipping 2$ {paid) X Capt Jenkins**** ofthe Baltimore Steam Boat 25 paid {Alexander McClurg 20 paid Pitsberg [Pittsburgh] {John Arthurs 20 paid For Mr Earp Í pictures 70. {40) paid DrAtlee"''&Wife 40 paid X Mrs Benison 25 paid Mrs Baggs 25 paid Miss Whiticar''" cast 50 paid (Miss Wuns STnallcast) Mrs Shott 2 o paid copyd[itt]o 20 paid To sit April I Theodore Gillies'*' 25 paid K5. Paul S. Brown, merchant, or Peter A. Brown, attorney at taw (both in 1824 Dir.)§ S6. This line apparently not in Ods's hand. 87. Mrs. —' St. John, widow, gentlewoman (1824 Dir.)§ 88. Matthew G.Jenkins, capt. Steamhoat Baltimore (1X14 Dir.). H.;. Edwin A. Atlee, M.D. (1824 Dir.)§ Í;(>. Several individuals named Whitecar appear in the 1824 Dir. y I. T. Gillies, combmaker {1824 Dir.)§ 216 American Antiquarian Society 2 29 Market NThouron**' a cast 5 paid Str. Mrs Seaberry trade 20 Mr Seabury (do) 35 ' To {Taking a cast of Mr. M H'Tjitneys child) Pike Mr Saml. Hoftnan''^ up Arch Str. 2 5.00 paid {Mr Francis Morse's Daughter) {20.00) Acast from Mrs. John Watson*'^ 35. Acastd[itt]oDr.Rodgers''^ 45 paid Jacoby near rose Hill Mrs Dupuoy a cast X Revd. S Ely'"' 2 5 paid Dr Clark of New Orleans 25 paid X Revd.Ingals''^ 20 paid Mr Ozius^ cast & picture 30 paid lost Mrs. Dr. Griffiths*''' 20 paid Mrs Smith corner of 12 & 25 paid walnut Str. Mrs Gillies 2 5 paid Mrs Whitneys four children i(M)paid intwogroups 5oeach lost Mr Smith from Naches [Natchez] 25 paid Mr Fering from a miniature • 20 paid I o unpaid DrNeall'"" jopaid [P-14] Mr Wolf from St Thomas 25. paid 92. NicholasThouron, merchant(iK24 Dir.)§ 93. Samuel Hoffman, shipwright (1K24 Dir.)§ 94. John W. Watson, merchant {1824 Dir. addidons)§ 95. Rev. William Rogers, D.D. {1824 Dir.)§ 96. Rev. E. S. Ely(rS24 Dir.)§ 97. Rev. Wm. M. Engles (1824 Dir.)§ 98. Peter Ozeas, inspector of customs (1824 Dir.)§ 99. The wife of Dr. Elijah Griffiths. A portrait of Mrs. Griffiths by Ods is in the collection of the Pennsylvania Academy ofthe Fine Arts (IAP). See also Bass Otis, Painter, Portraitist & Engraver, no. 31. 100. Henry Neill, M.D. (1824 Dir.)§ The Notebook of Bass Otis 217 AirComegys"" No42N8st 25 paid MrRallston 3 pictures'"^ (iji) 141 To 3 Fraims [frames] for the same 39paid T8Ö" DrBurrough'"' 2()paid MrWurts'""' 3 children in (^OH) 70. group Mrs D[ ]ah a cast 2 5 paid MrsAkins a cast & two paintings 50 paid aCopyofOziusfor Baltimore 30 paid Two Copies for Mr Rallston ofMrs& MrSmirh'"^ 45 paid Miss Brown 2 5 paid Revd. Dr Wilson forhissone [son] 2opaid Mr Whitehead 20 paid Mr Springer 15 paid Asmall fuUength for Mr Truman—trade 25 (EByerlyNo. ¡^i North James Budd PikeC Christopher Lamkin[?]ofMississippi 25 pd Mr. Williams ofd[itt]o 25 pd CaptTatum'"'' 25 paid 101. Cornelius Comegys, merchant ([822 Dir.)§ 102. A portrait by Otis of George Rolston, and another of his wife Louise Smith Rolston and a child, are owned by Mr. and Mrs. D, Hunt Stoclcweli, Jr. (LAP). See also Bass Otis, Painter, Portraitist & Engraver, nos. j''>-i7. Another painting by Otis of Mrs. 'Ralston' and a child is owned by Mrs. Robert Ferriday (IAP). 11)^. Marmaduke Burrough, M.D. (1824 Dir. additions)§ 104. An Otis paindng entitled Wurts Children is the property of a private owner in Pennsylvania (IAP), I i>v Portraits by Otis of Calvin Smith and his wife Priscilla Cobb Smith are owned by the Delaware Art Museum (IAP). The Smiths were Louise Smith Rolston's parents. See also Bass Otis, Painter, Portraiti.it & Engraver, nos. í4~35' 106. This entry not in Otis's hand. 107. Edward Tatem, sea captain (1814 Dir.)§ 218 ' American Antiquarian Society , ' Miss Kemp. 25 paid •s AcopyofMrsDupuoy'spict[ure] 25 [To be painted at leisure MrsMelisett 25pd To altering her Mothers picture 15 Saml.Clark acast'""* lo.paid Judge Cox[?]""'d[itt]o 10. paid Mr & Mrs. Whitney & Mother at 95. paid Saml. Clark after Death 35 Lt.[?] Boyse hydrographical Engineer 25 paid MrJamesD Graham"" 25. paid Mrs Connell 40. paid Wni Jones Esqr. a copy of Saml. Clark 25 paid [p.lii] Pike MrHerrick[?I 25 paid David 0 Tobias & 40. To sit in Mrs Boreaf ' ' ' between (S) Thursday Butonwood & Garden Str. 25 pd. 26 MrWillett 30. pd Mrs Roberts MrStubblefield Joshua Longstreth's Wife"' 25 pd General Irvin" ' to painting two transparencies Flags 3 2 pd. April Hth Mathew Newkirk to painting his Wife& Child'"» in a citcat size 45 pd. To altering his own portrait 108. Samuel Clark, merchant (1824 Dir.)§ loy. Possibly Charles Coxe, attorney at law (1^14 Dir.)§ 110. James Graham, merchant (!Si4 Dir.)§ 111. 1 he wife of Henry Boreaff, victualler ( 1S24 Dir.)§ 112. The wife of Joshua Longstreth, merchant (Thomas Wilson, ed. The Philadelphia Directory, and -V Gw/áe,/or íA'2j-[Philadelphia, 1S25], hereafter referred to as ifiis Dir.)§ 113. Prohahly Gen. Callender Irvine. See page Í ofthe ms ahove. 114. Matthew Newkirk, merchant, (1X25 Dir.). A family portrait of Matthew Newldrk, Mrs. (Mar- The Notebook of Bass Otis 219 Miss Me cally. to a portrait 2 5 trade, pd Mrs Altimus to a portrait 20 d[itt]o Mr Bell to two fullengths sitting at Hu each 160 pd Capt Hunt ' ' ' after death 35 pd. Mrs. {Perritt) Périt. 2 5 pd. Novr {Mrs. Leaper) {¿s) 1825 ( Copy of Mr. do. ) (a^ '9 Ip.i7] Pike MrWm.Rope[?] ^çpd ToaFraim[frame] iod[itt]od[itt]o Mrs Loyd after Death 3 5 pd Mr Worth of Bucks county was paintind in {Chary) Seventh Str. 25 paid Mr Nickolds to sit on Tuesday 30 July the 12 [1S25?] paid Mrs Nickolds 30 Mrs Robinson & child 45 pd Mrs Buckly on Tuesday 2 5.00 at 10 ^37-So) Novr. 24. Mr Leaper to a pair of his father & Mother's Likeness' "^ 40. pd Mr Kerl?] a pair d[itt]o 45 pd Mrs Btikly's Daughter & 35.00 pd sone [son] MrWragg $25. pd Revd Mr {Phillips) came with 20 pd Pratt Mrlngals Fraimdby Mrs Summers 20. pd Robinson."" MrsNewkirk 2opd garet Heberton) Newkirk and their child as painted by Otis is owned by Mr. & Mrs. Harry Clark Boden IV (IAP). 115. Edward Hunt, sea captain {1S24 Dir. additions)^ 11 ^1. A pair of portraits by Ods of Thomas Leiper and his wife Elizabeth Coultas Grey Leiper are owned by the Historical Society of Pennsylvania. See also Nicholas B. VVainwright, Paintings and Miniatures at The Histohcal Society of Pennsylvania (Philadelphia, ] y74), 146. Another pair of portraits ofthe Leipers is privately owned (IAP). I 17. Charles. N. Robinson, carver & gilder (1825 Dir.). 2 2O American Antiquarian Society Mrs. Grant & son citcat 45-pd Mr & Mrs Heberton 40 pd Mr Bedlocks son to be 20 pd taken in schooling my Children. ' ' * [p.] 8] Mrs. Singer a cast lopd 1826 Feby 18th {MrMcAlD Fraimd by Mr McAlister firm of 25. pd Pike Hill &c Franklin Turnpike Ceasar Rodney from a Profile Likeness by St Memin"^ Dr Clarks Wife & Father copies his to be copied the size March 4 of his Wifes Dr Clark to a portrait X of Bonaparte crossing the 20. pd Alps. X To a Washington crossing the Delaware."" zo. pd {MrJohnMcGhee) {of Center County state) {ofPensylvania to be) (here about the middle of ) {June) Mr Rallston to 3 copies i(K>pd Miss Eliza Eastburn 20 for June 1 st D Fitch 35 11«. Otis apparently painted a portrait of tbe son of William Bedlock, principal of the Union Academy (] H25 Dir.), in exchange for Bedlock's services in schooling his children. 119. This is a copy of a profile of Caesar Rodney, 1728-17H4, or of his nephew Caesar A. Rodney, 1772-1824. The original was evidently by Charles B. Saint Mémin, 1770-1X^2. 12i>. The notebook records Otis's accounts for a number of portraits of George Washington, as well as a few actual sketches of Washington. IAP records examples of Otis's Washington portraits at the Old Print Shop, New York; the Mutual .\ssurance Company, Philadelphia; the Library Company of Philadelphia; and the Historical Society of Pennsylvania. The Notehook of Bass Otis 2 21 [The regular entries which begin on page i end here.] August Mr Wilmingsen to call 4th Tomorrow at 6 oclock in the 1834 morning ThisAOldafair (From this point onward in the volume, entries cannot be dated unless Otis has given the date.] Mrjosepfh] Rodes" ' No 246 Race Str. oposite Franklin Str. FrameMaker J3.00 |p.2<)] Peter Tyior House No 5 2 sand Street Brooklin Store 141 Pearl Street New York Dr Black of Pittsburg to send word if he will sit before Monday 25thjuly 1S 3 1 [?] George Orum commenced his studio work with me 4 May 1836 Ferrotype or cast iron type [p. 21 blank] |p..2] Mrs West between Spruce & Union Keeps House. Mr. Ross Paid me 1 (io[?] Dollars. March Glover Died Octr2y 1837 >8 at 12 midday. •H37 TookChandler's""GazettNovr 27 1837 S40 du [due] d[itt]o d[itt]o 1842 Mr Hooper in Arch No 119 Jany 31 st Dr Elkinton' ^ ' paid $20 18^8 on accompt [account] of Geo Ritner Picture 121 .Joseph Rodes, a cabinet maker {Desilver's Philadelphia Directory and Strangei's Guide, for i>ij<; é iXifi ¡Philadelphia, 1835], hereafter referred toas 1815 Dir.). IJ2. Joseph R. Chandler was editor of the United States Gazette, a Philadelphia newspaper (1835 Dir.). 111. John A. Elkinton, M.D. {A. M'Elroy's Philadelphia Directory, ßn- 1H40 [Philadelphia, iH4t¡] hereafter referred to as 1840 Dir.)§ 2 2 2 American Antiqtiarian Society James Lansett[?] comer of Second & Market W Grant 15.48 15.48 20.65 9-90 taxes 36.19 2.75 8 That surface will partake most of the colour of the object that reflects it, which receiv[e]s that reflection by the most nearly eaqual angles. Let the Painter in his reflexes [reflections] on the human figure particularly on the flesh colour, mix some of the couler of the Drapery which comes nearest to it, but not pronounce it too Distinctly, if there be not good reason for it. [p. 24] ! [sketch of hand] [P- 25I [sketches of hands] [p. 26] [at top of page: four diagrams] 1 zinc with strip of copper soldered to it the end to be cupped (i) and coated with mercury by means of nitrate of mercury so as to hold a litde mercury 2 the mould soldered to a copper wire amalgamated at the end that dips in the cup 3 outer pot holding the zinc to be filled with saturated solution of table salt inner pot filled with saturated solution sulphate copper with bag 4 of sulph copper The Notebook of Bass Otis 223 [p. ^=71 melt 8 parts Bismuth—5 lead & i tin mix well when melted and pour out to cool melt enough to make mould and when melted pour on paper with cloths under and when thick like paste rub off inside wdth a paper and strike on mold— take a strip of lead and solder it so as to enclose the coin leaving a very small rim to hold the metal when the mould is made tin a piece of copper wire leaving a small drop of solder on the end then hold the end in a spirit lamp until the solder melts and quickly place on the thickest end of the mould and hold it still and blow on it to cool it —then wax over the back & half of the edge of the mould and the part ofthe wire that dips in the solution'^-* ] [sketch of child on chair] blanki [sketch of child seated on chair] [sketch of child seated on chair. See Figure 3.] [p. 32 blank] IP-íí] [page crossed out with an 'X.'] MrChase. 1 transparency"' 10. 5 pd Mr. Keating 3 d[itt]o 15 5" pd MrPikeid[itt]o 8. ] 24. Pages 3() and 37 ofthe manuscript may not be in Otis's hand. 12 5. The accounts on this and the following page may record Otis's work for some specific celehra- tion or other event. One possibility is the visit of Lafayette to Philadelphia in 18 24. See Introduction. Fig. J. Sketch of a child reading. The Notebook of Bass Otis, p. 11, yîA x inches. American Antiquarian Society. The Notehook of Bass Otis 225 Mr Gray 3 d[itt]o 24. pd S Kennada 4 heads[?] y. Mr Reed i small 2. ^ MrGiIlis2 16 pd {Mr Dempsey 1) {6} [p- .H1 [page crossed out with an 'X.'] Mr James Dempsey'"'^ 6 6 pd Mr John Lile'^' 3 atK 24 pd Washington Layf^en & Jackson Jno Hewis[?] ' ^^ @ 11 Dolls[?] pd & for S. Nevins' ^"^ 2 d[itt]o for 15 pd for the Custom House three 3 5 pd MrB[ ]irk 30 Dr Clark [ ] pd Bazil Graves' '"No 18 Spruce 15 pd Str RBoike[?]one 12 MrJSheaff-"3 30 GrayRob [RobertGray?] i[?] 8 pd MrRubicam2 16 IP- 35] one for Huber ^[P ] ea 18 8 for the Northern Libertyarch HH¡ Mr Lockhard 30 pd B Philadelphia Philadelphia 14 Arch Ridgeway I ]ket 12ft. James Dempsey, innkeeper (1H24 Dir.)§ 127. John Lisle, merchant (1824 Dir.)§ 128. John Hewes, laborer (1814 Dir.)§ 12c;. Samuel Nevins, exchange broker {1824 Dir.)§ IÎ11. Bazel Graves, tallow chandler (1824 Dir.)§ 11 J.John Sheaff, gendeman {1824 Dir. addidons)§ 2 26 American Antiquarian Society [p- 36] Rules by which the Painter is to be governed in future. {As) A]l People cannot make Eaqually strong Likenesses as they have not eaqua]]y caracteristic features & expression, so perfict success and {pafkt) satisfaction cannot be expected, a]ways. no Painter is sufficiently great as to affect impossabi]]ities. So that the 1 imployers must make up their minds to sit by the reputation the Painter Ho]ds and the specimens Presented to them or such as they be refered to. Having found by long experiences the bad effects of Ladies presenting themse]ves in dresses they have not often been seen in, and the IP- 37] dress of the head & neck tota]]y Different, I have reso]ved not to warrant likenesses in such cases. but must be allowed reasonab[l]e remuneration for subesquent alterations. Sitters nor their Friends cannot under any circumstan[-] ces be allowed to see the progress ofthe Picture untill the Painter submits it for criticism as no half finished work is fit for remarks upon, as none but the Painter knows what is to be done to it. —from the above circumstances many a good beginning is sacrifised and the Painter seriously injured. The Picture is expected to remain till it is fully tested in tbe Exhibition room where its [ ] tp. 3«! ' can be best ascertained. People coming in acquainted with tbe sitter The Notebook of Bass Otis 227 and not having known of their sitting {iv the r) and instantly naming the individual is the surest and only impartial Proof of likeness. Such as are not willing to admit this test kneed [need] not employ the Painter. The Paintings in the Gallery it is expected will not be handle[d] or remoove[d] from place to place as by so doing they are subject to great injury. Payment is expected on the Delivery of the Paintings. Strangers from a distance must have on the first sitting a sufficient garentee for to insure the payment when finished. Deer. I An Accompt [account] of the number iH 14 of Tickets signed held by the Adam & Eve Company. ' ' ' Robert Martin i WmPierce'" 2 C Yeager 3 NBunker"-» 4 John Pierce''^ 5 TDowning'"* 6 M Newkirk 7 Isaac Otis'^^ 8 ThosShewell''^ 9 1^2. According to his nephew, Ralph N. Warner, Sr., Ods's 'largest Paindng was Adam & Eve in the garden of Eden on Exhibition at the Academy of Fine arts ... the Adam & Eve picture was sold ro a syndicate and went to New York." Note by Ralph N. Warner, Sr., Sept. 29, lyto, in 'Bass Otis' folder, manuscript collection. New-York Historical Society. No painting of Adam and Eve by Otis appears in the exhibition catalogue of the Pennsylvania Academy of the Fine Arts in 1834, and there was no annual exhibidon in 1H35. See Anna Wells Riidedge, ed. and comp., Cumulative Record of Exhibition Catalogóles, the Pennsylvania Acade7ny of Fine -•írtT (Philadelphia, 1955), p. 159. L n. William Pierce, piano maker, (iHj5 Dir.)§ 134. Nathan Bunker, flour merchant (IXÍÍ Dir.)§ 115. John Pierce, carpenter (1835 Dir.)§ r 36. Thomas Downing, superintendent, state house ( 1S15 Dir.)§ 137. Isaac Ods, contractor ([835 Dir.)§ 138. Thomas Shewell, gendeman (1835 DÍr.)§ 228 American Antiquarian Society JMcMurtrie"'' to Wm Sheepshanks II N(?lMitcheson 13 JTagart 14 J Cloud'•»" 15 NTimmands [or Simmands?] 16 Jd Hopkinson »7 RPeters'-*' t8 AEckfelt[?] 19 Mr [orMrs?] Heberton 20 Signed {i^) 40 Season tickets for C. Pierce to sell. [p. 40] A Muse of the Woods taken from the following strain in Virgil by M L Sylvestrum tenui musam meditaris avena'"*' [drawing of muse] [p 4'1 Mr Barkley began instructing my Cbildren in music Jany 19th iHi*» & I also gave him lesens [lessons] as a compensa[-] tion for 6 month tuition of them—putting my instructions against his teaching [ ]ing the instrument [p-42] took a cast of Robert Vaux'-" on Wednesday Jany 20th 1836 (Philadelphia March 19th 1H38 Received of Bass Otis) [p- 43] [2 sketches of children] [p- 44I a chamber, with a Lady who has 139. James McMurtrie, gjendeman (1H15, Dir.)§ 140. Joseph Cloud, refiner at the mint (1X35 Dir.)§ 141. Richard Peters, Jr., counsellor at law (i^i5 Dir.)§ 142. The quotation is from Vergil, Biuolics, Eclogue 1,2. 143. Roberts Vaux, gentleman (1855 The Notebook of Bass Otis 229 been reposing on a couch the Flames breaking into the chamber a Columbia Hose Member bearing the lady out of danger, and a Phoenix Hose Member coming into the door with a branch pipe in his hand to which is attached the Hose'-*^ — Chas M Horreli John Arnold''*'' Fred: Fritz W. ' Toum[?] 1 Accompt [account] with Mr John V Hart'''*' & sone [son] Standing (Feiy) March 2 Due him Criticism is Glall [Glass] Ware. There should be care taken in placing it upon polished Marble, Rocks, or steping stones. Bedds of Down, Dow [dougb] or mud {wiU) may require less caution. Criticks like Glass Blowers should be careful in throwing their useful Ware upon polished Marble, Rocks or Steping stones Beds of dow will beter bear or receive their random shots. Go Welthy Fool study to be wise Come not here to criticise. {The steping stone yo dash) your 144. The Columbia Hose Company and the Phoenix Hose Company were two Philadelphia fire companies. See Scbarf, ITl.iyoi-iyoi. 145. John Arnold, corder (1X35 Dir)§ i4f). Wendell Fraley (1H41) D¡r.)§ 147. Isaac Marselis, M.D. (1H35 Dir.)§ i48.Jobn V. Hart, merchant (i**35 Dir.). 230 American Antiquarian Society {Ware upon) {Will last for ages longer) after {ware is gone) ' {you are gone) The work you spend your breath & wit upon will last for ages after you are gone. [p.46 blank] [P- 47] North Str.[?] Theodore W Ross Lomberd and fifth William T Read, New Castle, Del. Heniry S. Yeager't^ 98 or 89 Callow Hill Str. lp.48] Philadelphia March 13th 1H3H — List of Pupils for the year — March 1 Í A. M. Lightner commenced at the rate of $40 per quarter.'^" H. Christinas's ' [p. 49] I [sketch of part of head] [p- 5"1 Wilmington July 16 1H39 I went to Philadelphia & painted 6ve Portraits for the Woelpper Family. 5 in number amounting to $195.00 my expenses in the Family for livingfrom 16th to ¡ywas $ 65.00 company all tbe time fi-om Philadelphia & Baltimore. markit the highest ever known in Wilmington. — 149. Henry S. Yeager, framer {1840 Dir.)§ 150. This entry not in Otis's hand. 151. This entry not in Otis's hand. The Notehook of Bass Otis 2 31 Mrs Hawkins will call about a view of the old Church. & I must Eliott Welch's grave stone after passing through tbe Bi]cong[?] south she is wiUing to pay about 10 Do]]ars. [p-5'1 Mr[?] Eliot Wilch. grave stone in the o]d Chirch yard. John LJabraus. Frank Wamer Oct. 13, 1906''^ [also sketches of eyes and mouth on this page] [p. 52 blank] [p. 53 blank] [p- 54] [sketches] [p-55] [sketch for portrait] [p. 5^] [in pencil:] Resolution ofthe Delaware Legislature , at its last session raising a Com.[ittee] to procure pictures ofthe three Signers ofthe Declaration of Independence of the State. A portrait of George Read one of these Signers In possession of his Grandson Wi]]iam T. Read esteemd a first rate painting.''* [in ink:] Resolution ofthe Delaware Legislature at its last session raising a Com. to procure pictures of tbe three signers of the Declaration of Independence of U.S.A. 152. This entry not in Otis's hand. 153. This entry probably not in Otis's hand. 232 American Antiquarian Society A portrait of George Read in the possession of his grandsone Wm. T Read espeemed [esteemed) a first rate painting. Frank Warner'^-* IP-571 [paint daubs] [p. 5«] [paint daubs] [p- 59I [paint daubs] [p. 60] [slip pasted to page:] Received March 18 1818 of Mr. Otis Sixty Dollars in full of all demand for frams and sundry ardcals to this date [in pencil:] Nickelson'"^ at th[e] office of the Scuekill Gass Company under the Franklin Institute I am to meet him on Saturday the 6th inst [Otis wrote many entries in the notebook from front to back, while he made other entries from back to front having turned the volume over. Most of the material on pages 61 to 94 is written in the latter fashion. In order to reflect Otis's practice and to allow for easier reading, the transcription at this point begins with the final page of the volume and condnues to page 6i.] [inside rear cover] I Land of the Free and Home of the Brave Dickenson in Vine Dwelling No 107 below 4th Street 154. This entry not in Otis's hand. 155. Signature not in Ods's hand. t56. Thos. Nichofson, inspector of gasfitdngs. Franklin Insdtute {1840 Dir.)§ The Notebook of Bass Otis 233 [rear flyleaf verso] 'From the Catskill Recorder. General La Fayette' [poem by Hudson; newspaper clipping pasted to flyleaf] [rear flyleafrecto , two partly printed receipts pasted to flyleaf:] Mr B. Otis To the Franklin Institute ofthe State of Penna. Dr. To one year subscription to the Journal ofthe Franklin Institute, commencing Jany 1830 and ending Dec i H ^o $5 Received payment, Willm Hamilton,'" Philadelphia actuary Treasurer's Office at the Hall ofthe Institute Mr. B. Ods To the FRANKLIN INSTITUTE OF THE STATE OF PENNSYLVANIA, Dr. To amount of annual contribution for one year commencing October I, iH3Hat$3perannum $3 To Certificate of Membership $ [ Received payment, 4 Philadelphia, Nov 10/38 G. P. Schivley''** for Actuary *By-Law. - Resignations of membership must be in writing, and the contributions paid to the time of resigning. [p- 94I Ba» Philadelphia Sept 2[7, 1816] Frida [y] On Friday Susanna Otis''^ was Bom Between the hours of 6 & 7 oclock A.M. Mr Saunders of Kentucky Lithographic prints delivered to Mr Ingersol for his Analectic Magazine''"' July 27 3.50 157. William Hamilton, actuary. Franklin Institute (1835 Dir.)§ 15H. George P. Schivley, dentist {A. M'Elroy''s Philadelphia Directory, for iSitf [Philadelphia, 1839], hereafter referred to as 1819 Dir.)§ 159. Otis's daughter Susan Pierie Otis was bom Friday, September 27, 1816, according to genealog- ical notes by Ralph N. Warner, Sr, 'Bass Otis' folder, manuscript collection, New-York Historical Society. 16*1. Otis's lithograph of a mill at waterside appeared in the July i)j 19 issue of Úie Anelectic Magazine 14 (1S19) accompanying an article called 'Lithography" (pp.67-73). See introducdon. 2 34 American Antiquarian Society 28 4.50 29 2.50 30 2.50 July 1 2.00 15.00 Mudge & inthaler[?] to had[?] at smiths M George Carleton at[ ] Shaw i6y pine street between 5th & 6th streets Mr Oliver 92 Dilwin St Northern Liberties between Mr Täte A Frenchman is to call about portraits to be painted last week of Deer. {Delong) Le Long pray Portrait Painter in Lower Canada. — WiUiam a little above New Str Baltimore April ist 18(15] Portraits paint[ed in] Baltimore Col. Towson Mrs. Warner | Mr. Findley Mr. Bate ' Mr. Wall ' S20.00 Mr. Philon, Towson"'' 15.00 Mrs. d[itt]o Towson 15.00 Mr Hill jox» Lieut. 10.00 161. William Hollowell, ironmonger (1X24 Dir.)§ 161. Philemon Towson (Edward Matchett, The Baltimore Directory and Register, for 1^1 fi\BaUimoTe, i8i6j, hereafter referred to as Baldmore 1816 Dir.)§ The Notehook of Bass Otis 235 Mr. Leighmans oposine [opposite] Union Str in Front Str. Mr. Woodmans Fraime. — 26 by 22'/2 [p. 91 blank] [p. 90] Baltimore April 18th [1815] April r3th Received of Mr John Cainer 1815 9boxes.—witb Brasses. at 7 dollars $6 Prints of The Fat Cattle April 1 th Delivered two Dosin prints to iKiy Samuel Kennady to sell upon commission at 3 3 '/Î percent April 3 th Let Harmans Brother have 7 3th Letjohn Garretts man have one Dozin Sheep and 13 ofthe Heaffer&Ster May(/j) loth AMr Haydon called on me 1829 from Wareham Massachusetts Sunday & said be was requested to call by MelviU Otis"'' [p.S9] L Thegergen[?] Mr William East of Getmantown Drum Macker[?] to call some Saturday [p. K8] Baltimore ofConelly April 13 Received by the Steam Boat 1815 line of Packets 1 o boxes at 7 dollars $7O.(K) [sketch of Washington seated] Ip. 87] [sketch of Washington seated] [p. 86] , 163. Bass Otis had a brother named Melville (1778-1852). 2 ^6 American Antiquarian Society 1R15 April ioth Samuel Bowly"^'* took one of Cainer instrumfents] Robert Gilmore ' ''- took one of Connelly Apriló DrGibson"^-d[itt]od[itt]o-d[itt]o Van Osen 17 3 South 11 Str below Locust. [sketch of Washington seated] [p. «5l Delaplain's Accompt [account] [—A solisitor General, paid] "^' AD iHif) June 1, 1818"^" Jefferson"^ Madison'^" Mrs Madison'^' Columbus''^ Vespucius'" Gen Wilkenson''''* Gen Cadwalleder'^^ paid Gen St Clare'"''' Mr. Thompson'^^ 164. Samuel Bowley, gendeman (C. Keenan, The Baltimore Directory, for 1S22 ér '¿j) (Baltimore, 1822). 165. Robert Gilmor and Son, merchants (Baltimore 1816 Dir.)§ 166. William Gibson, physician & surgeon (Baltimore itiirt Dir.)§ 167. 'A solisitor General, paid' is at the top of page 84 ofthe manuscript. Otis wrote this entry across the top ofthe two facing pages. 168. This is evidendy a list of paintings by Ods which were included inJoseph Delaplaine's 'National Panzographia,' a large exhibit of portraits of American celebrities. On Otis's business relationship with Delaplaine, see Introducdon. I C>9. Portraits of Thomas Jefferson by Ods are in the collections ofthe Thomasjefferson Memorial Foundadon, Inc., Mondcello; Colonial Williamsburg; the University of Virginia; the Department of State; Yale University; the Chicago Historical Society; and Mr. & Mrs. J. G. StradIing{IAP). Joseph Delapiaine commissioned Ods to paint Jefferson: see Introduction. 171. Dolly Madison. A portrait by Ods is owned by the New-York Historical Society (IAP). An engraving of Mrs. Madison (Stauffer 1144) based on an Ods portrait appeared in the Pftrt Folio 4th ser. 5 (Feb. 1818). 172. Christopher Columbus. 173. Amerigo Vespucci. 174. Probably Gen. James Wilkinson, 1757-1825. 175. Probably Gen. John Cadwaiader, 1742-1786, 176. Probably Gen. Arthur St. Clair, 1736-1818. 177. Charles Thomson, 1729-1824. The Notebook of Bass Otis 237 Stewart'^^ Gen Izard"*" Oliver Evans'**' paid Gov of Ohio"*' Com Truxton'"* JudgeJohnson Dr. Wistar"*-» GUes'«« Saml. Adams'"*' Geni Little"'' paid Col Reed Delaplains Aunt [p. «4] [Delaplain's Accompt —]"'' A solisitor General, paid March 16 gave my Wife $5.00 1824 for muslin Lawyer Hart in vine between 3d & 4th office in a part of a Bake house on the Nth side. his Father is 4th above callow hill 178. Joseph Hopkinson, 1770-1842. [79. Possibly Charles Stewart, i778-i86(^. 180. Gen. George Izard, 177c»—1828. 181. Oliver F.vans, 1775-1819. 182. Thomas Worthington, governor of Ohio 1814-1818. 183. Commodore Thomas Truxton, 1755-1821. A portrait of Truxton by Ods is owned by the Long Island Historical Society (IAP). 184. Dr. Caspar VVistar, i7C>r-[8iS, Portraits of Wístar hy Ods are owned by the Pennsylvania Hospital and the Mutual Assurance Company, Philadelphia (IAP). An engraving (Stauffer [ 157) was also produced from Ods's portrait. 185. Dr. John Syng Dorsey, 1783-1818. ! 86. Dr. Philip Syng Physick, 1768-1857. Ods also produced an aquadnt of Physic (StaufiFer 2381). 187. Dr. John Redman Coxe, [773—1864. 188. Possibly William Branch Giles, 1762-1813. A paindng by Ods of Giles is owned by the Virginia Historical Society (IAP). 18y. Samuel Adams, 1712-1803. [(><>. Gen. William Lyde of Ohio. f y I. See note for page 85 of the manuscript. 238 American Antiquarian Society Mr Haley in Market street 274 South side ofthe way abov 8th where the Gimnasium Sam] Tager[?] & Wife 115 Chesnut E. Rundah[?] W South second street'^' [p. 83] I Accompt [account] of ingravins—[Phila Jany 17 iSi[ ]]"" [p. 82] [Accompt of ingravins] — Phila Jany 17 i8i[ ]"'* Delivered to Morgan 4 prints of Dr Bart[on]"'' 17 sold to Helia 18 prints of Dr. Barton 18 Delivered to Thos. Natt 6 prints of Dr Barton 18 d[itt]o d[in]o Kaneda 1 d[itt]o 18 d[itt]o d[itt]o Robinson 12 d[itt]o 18 d[itt]o d[in:]o Mr. Findly 6 d[itt]o 18 d[ittlo d[itt]o Birch 6 d[itt]o 18 d[itt]o d[itt]ojs. Earle6d[itt]o 18 d[ittlo d[itt]oMrsRabsom"'^ 1 d[itt]o [p-8'] Mr Amott a portrait A Washington Jno[?] Yeager 18 by 24 in fullength [sketch of two figures for portrait] [p. 80] Stewarts self operating saw for surgical purposes [diagrams of a spring-wound saw] 192. This entry possibly not in Ods's hand. 193. 'Phila Jany 17 iHi[ ]' is at the top of page 82 of die manuscript. Otis wrote this entry across the top of the two facing pages. 194. See note for page Kj ofthe manuscript. 195. Benjamin Smith Barton, M.D., 1766-1815. Ods's engraving, Stauffer 2379, is reproduced as Figure 4. 196. Mary Rabson, widow (1819 Dir.)§ Fig. 4. Bass Ods, Dr. Benjamin Smith Bajton, 1766-1H15, aquatint engraving, 6y4 X 4'/2 inches. American Antiquarian Society. 240 American Antiquarian Society [p- 79] ' Send Mr. Printies"''[?] Portrait Binner & Badgers in second between Arch & race Liquor store Fie Hunt Down Vice shut [shoot] Folly as it Flies Receav [receive] Distress & be the Drunkards Friend [p. 7«] To The Artists Association"'" in Chesnult] St 1819 Pictures delivered Sml. Kenedy Jany Jefersons Portrait at $2 5 returned Munroe"'''d[itt]o d[itt]o 2 5d[itt]o Presdt. Adams d[itt]o d[itt]o'"° 25 Sdliife Ducks i piece at 15 sold Sdllife Wineglass ^ples nuts &c 8 d[itt]o 1820 DrCaldwell 1 April gave Allin [$]6o— 18 Bas 0 Harmonica [p- 77] [paint daubs] [p- 76] AD1823 An accompt [account] of My Expenditures Novr. 28th Fortbe house Dec I Forthehous[e] î 4 ForButler[?] 3 5 For the House 5.50 6 For the House For carpel 197. A portrait by Ods of Dr. Nathaniel S. Prentiss (1768-1852) owned hy the Bostonian Society is at the State House in Boston (TAP). See also AnthonyJ. Philpott, 'Pictures in the Old State House, the Men Who Made Them and Their Suhjects,' Proceedings of tbe Bostonian Society (H;I4): 30-11. lyH. Ods appears to have had paindngs including hoth portraits and still lifes on consignment at Samuel Kennedy's gallery called 'the exhihidon ofthe society of American artists, 71 Chestnut' ( 1X i <; Dir). See introducdon. iy<;. Probably President James Monroe. An engraving of Monroe (Stauffer 1146) based on Ods's paindng was puhlished in the Port Folio 4th. ser. 5 (April 1818). 20«. The New-York Historical Society owns an Ods paindng which is a copy of a Gilhert Stuart portrait of John Adams (IAP). The Notebook of Bass Otis 241 IP-75l Mr Perrotts remark on his sisters Portrait neck too long head too round & the eyes rong She shall shew but one Border John A Oliver C. painter works with John SheweU. Mr White directed her[e] byj Shewell Size of Ellmakers Frame 4 feet 4 inches including Fram [P- 74] Caleb Cressons Children"" [sketch of 6 children, pasted to page] [p-73] Mr Holmes a Friend of Ashtons and a drawing master [piece of paper pasted to page:] Judge GiHispe Isaac Otis' Friend [p. 72] Italian Read Black & White is a good Dead couler for a curdn. I used in in Mr Ellmake[r's] picture J. Grimes No. 65. South 7th Street"'' [p-7'1 Mr Cates[?] at Mr Weaver Parkers Seller comer of Carpenter St Jany 28 1840 201. The children of Caleb and Sarah Emlen Cresson of Philadelphia. A portrait of the Cresson children by Ods with the same arrangement of figures is reproduced in a dealer's adverisement in Antiques 1 16 (August 197y): inside rear cover. ; Alingave me 27 dollars of prices [Price's?] money Jujube Paste Chas. Peckworth Broad[?] St. between Arch & Race ad & 3d St. East Side [P- 7«] [sketches for a portrait] I p. 69 blank] [p. 68] March 16th 1824 Reconed & settled with Marinus W Pike and found due him 67 dollars. — including borrowed money. $7Ü[?] James H Graeff no 91 Walnut St office hours from 2 to 5 O K. [o'clock] P. M. X Painters Club to meet every Thursday Evening at 8 oclock.^"' JohnNegle^'t X. 282 Ches't X. i36Ghes X. 169 Ches D Dickenson'"^ X. 287 Spruce JMDeFranca^"" X. Henry Warren""' X. 146 N 8th Thos.B Welcb^'" .X. 16 Filbert ThosBAshton'" .X. 216 203. This list appears to date from about 1838 or 1839, based on the addresses given in the 1837, 1838, and 1840 catalogues of the Ardsts' Fund Society. Warren was at a different address in 1837; Welch and Smith had moved by the dme the 1840 catalogue was prepared. See The Annual Exhibition Record of the Pennsylvania .4cade?ny of the Fine Arts /,¥«,--/Í7". Dates for these artists are supplied from George C. Groce and David H. Wallace, The New-York Hi.norical Society's Dictionaiy of ArtisU in America, /ÍO./-/Í¥(Í(J (New Haven, 1957). 204. John Neagle, 1796-1865. Otis painted a portrait of Neagle which is owned by±e Pennsylvania Academy of the Fine Arts (IAP). 205. James Reid Lambdin, 1807-89. 2oC>.John Sartain, 1808-97. 207. Daniel Dickinson, 1795-after i86rt. 208. Manuel Joachim de Franca, 1808-65. 2(Ki. Henry Warren, c.T793-afcer i8rto. 210. Thomas B. Welch, 1814-74. III. Thomas B. Ashton, 'landscape and genre painter, wood engraver, and dealer in ardsts' suDDÜes' (NYHS's Dictionary). *^^ The Notebook of Bass Otis 243 WTR Smith" ^ X 12 at 8th JosephKyle'" Comer of 9th & Mark[et BOtis 118 Spruce WmKneas"-* 6 Jef Roe [Jefferson Row Thos Birch"' Market David Edwin^'* Madison Str [p- 67 blank] [p- 661 [sketch of Washington, full length] 1 [p. 65] X JohnWM[c]Grath"^ Mantle Daniel L Hutchinson"*" Club FAVanDyke'"* for ChasTRueta"" X $2 i each 159 Market X Samuel Branson' ' ' \ Theodore Davidson same club [p. 64] Sketches from Craigs Lectures'" Colours are blue, yellow, orange, Read purple, Violet and green, these are divided by the optician into primidve and compound; and they are divided by the painter, into warm and cold, the warm are yellow, orange, & read, to gether with such compounds as inclined decidedly to them; the cold colours, are the violet, blue, and green, and such 2 [ 2. William Thompson Russell Smith, i Ö11-96, generally known as Russell Smith. 211. Joseph Kyle, 1815-61. 214. William Kneass, 17H0-1S40. 115. Thomas Birch, 1779-1851. 116. David Edwin, 1776-1S41. 117. John W. McGrath, mercbant (iHiy Dir.)§ 21». Daniel L. Hutchinson, merchant ( 1H ÎV Dir.)§ 219. Frederick Van Dyke, M.D. (iH^y Dir.)§ 220. Charles T. Ruete, merchant (1839 Dir.)§ 211. Samuel Branson, merchant (1^19 Dir.)§ 221. A comparison ofthe spelling of this section on 'Craigs Lectures' with Otis's spelhng in the rest ofthe volume suggests it is likely that Ods copied this from a written source, rather than caking notes on a speech he heard. Further proof can be found on p. i'>3. where Ods crossed out 'power and love,' probably after making an error in transcription. 244 American Antiquarian Society mixed colours as have blue for their principal. But it will be evident, on a moments consideration, that the three comp[-] ound colours, as denominated optically, may be either warm or cold, as partaldng most ofthe read or yellow, on one side, or for the blues on the other, the warm colours ar[e] understood to attract, and seemingly to approach the eye; the cold colours on the other hand, are considered as having a tendency to give the appearance of receeding. [p-63] This principal is true to a certain extent, but it depends on an other, which will be refered to here after either to enforce or counteract it. To the seven colours, have long been attached emblematical significations; and painters even from the infancy ofthe art have adapted the association. It there fore becomes necisary to speak of the circumstance as one that will enable us more forcibly to feel the sentiment of many pictures of the old masters, it is true that this like kinds of emblematic representations, has no effect but on those who are previously acquainted with the means of interpreting it, yet it may fumis[h] ideas to future practitioners. Yellow is understood to express {power & hue) luster & Glory; Read power & love; blue Divinity; purple authority; violet humility; and green servitude. [p. 62] The prismatic colours will give the first rule for placing of colours.— Primitive colours are allways harmonized by intermediate compounds; as read & yellow by orange, blue & yellow by green & read & blue by purple or violet. The extreem Disagreements of colours are in placing the primitives near to or upon each other through this disagreement The Notebook of Bass Otis 245 where the association is unavoidable may be in some measure abated by making each of nearly the same tone. White exists only by contrasts, suits well on any darkish coloured ground and with any light one. except yellow & blue both of whicb loose a great deal of their brightness by the vicinity Hght yellow bas much clearness & beauty on putple and green, light blue suits well on green violet & yellow [p. 6.] not very pale. light green inclining to yellow has a goo|d] effect on purple violet & blue, but read upon red purple on purp[le] blue upon a darker blu[e] should never be allowed unless there be the means of contrasting the up[p]er couler by some oposite one in its neighberhood as to restore the degree of couler it will seem to haves [have] lost. [loose item # 1 recto] Philadelphia Jan 7th 1843 MrJohnV. Hart To Bass Ods Dr [debit] Sept 1834 To painting a portrait in Oil after death of Theodore Hart $60.00 Jan iHî7 3 head size portraits of 3 sons $60.00 Copy of Theodore Hart $35. [loose item # 1 verso is blank] [loose item #2 recto] AD 1853. Isaac D. White Bartlett St[?] March 2 2 Roxbury 2 Portraits at 6« each $120 March 7 portraits for Mr $J5O 29 Saml.W.Chfford 246 American Antiquai'ian Society A.M. Merrifield of March 30 WorsesterMSS. [Worcester, Mass.] $70.0 To Sit at intervals of about (onKitcat) 3 Weeks apart — April I Began a Group of Children for Mr Isaac D. White 3 in numberaçoeach Si ço April 8 J.M.Mayo& Lady $î(» each i 100 April William D Soyerjr 16 to a Portrait $80 Mr Soyers Father in Law from Copley to be Painted in June $150 Drjefferies S60 [loose item #2 verso] 1854 July 17 Painted Mr Harrold Wyllys of [ ] South Carrolina a Coton Planter bom in Hartford Con necticut S50.0U [in margin:] From an Engiisb Family the last of his race. [a sketch follows] , The Notehook of Bass Otis 247 INDEX Page numbers listed below refer back to the page numbers of the manu- sa'ipt. The entries in the Index are based on Otis's spelling, which was often irregular. In cases where it has been possible to identify tentatively or definitely a person named in the manuscript, a cross reference has been provided when the spelHng differs. Thus Dr. George F. Lehman's name appears under Ods's spelHng 'Leighman', and there is also a refer- ence 'Lehman, see Leighman.* .Abhott, John (daughter of), 1 Bell, Mr., 16 Adam and Eve Company, 39 Benison, Mrs., 12 Adams, Presdt., 78 Benner, 4 Adams. Saml., 85 Binner & Badgers, 79 Ainsley, Mr., 9 Birch, 82 Akins, Mrs., 14 Birch, Thos., 68 Alin, 71 Black, Dr., 20 Allen, Mrs., 8 Blaine, Mrs., 6 .-Mlin, 78 Boike[?], R., 34 Aldmus, Mrs., 16 Bonaparte, see Napoleon Analectic Magazine, 94 Bonaparte, Joseph, 10 Arnold, John, 44 Boreaf, Mrs., lA Amott, Mr., 81 Boreaff? see Boreaf Arthurs, John, 1 2 Bowley, see Bowly Artists Associadon, 78 Bowly, Samuel, 86 Ashton, I,73 Boyd? see Boyed Ashton, Thos. B., 68 Boyed, David, 9 Adee, Dr., 12 Boyse, Lt.[?] 15 Adee, Dr. (wife of ), 12 Branson, Samuel, 65 Ayers, 6, 7 Brenan, Mr., 1 Ayers, George, 3 Brenan, Mrs., 1 AyTes? see Ayers Brook, Mrs[?]., 11 Brown, Dr., 1, 2, 10 Brown, Dr. (children of), 1 B[ lirk.Mr.,34 Brown, John, 2 Bacon, Mrs., i«) Brown, John (children of), 9 Baggs, Mrs., 12 Brown, Lawyer, 3 Baker, Mr., lo Brown, Miss, 9, 14 Bankroft, Mr., 1 Brown, P., 11 Barker, James N, 4 Bucanon, 9 Barker, James N. (daughter of), 4 Buchannan? see Bucanon Barker, James N. (wife of), 4 Buckly, Mrs., 17 Barkley, Mr., 41 Budd, James, 15 Barton, Dr., 82 (9) Bukly, Mrs. (son of), 17 Basdan, George, 3 Bukly, Mrs. (daughter of), 17 Bate, Mr., 92 Bunker, N., 39 Beck, Paul, Esq., 7 Burrough, Dr., 14 Bedlock, Mr., \-¡ Butchers, Company of, 2 Bedlock, Mr. (son of), 17 Byerly, E., 14 248 American Antiquarian Society Cadwalleder, Gen., 85 ' Davies? see Daveese Cainer, 86 De Franca, J,M., 68 Cainer, Mr. John, yo • Declaration of Independence, Delaware Caldwell, Dr., 7S 1 signers of, p. 56 Caldwell, Mr., 1 Delaplain, (aunt of), 85 Caldwell, Mr. (wife of), 1 Delaplain, 85 Carleton, M. Cíeorge, 94 Delaplaine, see Delaplain Carleton, Mrs., 7 Dempsey, James, 34 Carlton, George, 4 1 Dempsey, Mr., 33 Car Micael, Dr., lo 1 Dewolfe, Mr., 11 Cates, Mr., 71 Dickenson, D., 68 Chancey, Mrs., 7 Dickenson, inside rear cover Chancey, Mrs. Charles, 5 Dickinson, 4, 8, see also Dickenson Chandler, 22 Dorsy, Dr., 85 Chandler, Dr., 7 Downing, T., 39 Chapin, Mr., 4 Duffield, Dr., 10 Chase, Mr., ii ' Dunlap, Ann, 7 Chauncey? see Chancey Dunlap, Judge, 7 Chauncy, Mrs., 6 Dupuoy, Mrs., 10, 13, 15 Chew, Mr. B. (child of), 4 D[ ]ah,Mrs., 14 Christ Healing the Sick, 3 Clark, Dr., 3, 13, t8,{2),34 Earl, James, 1 Clark, Dr. (father of ), 18 Earl, Mrs., 9 Clark, Dr. (wife of), 1H Earl, Mrs. (child of), 9 Clark, Saml., 15 (5) Earle,Js.,8i Clay, Gee, 9 Earp, Mr., 11 Clay, Revd. (wife of), 9 Earvin, ut Cleaver, Dr., 4 East, Mr. William[?j, «9 Clifford, Saml. W., loose item #2 recto Eastbum, Miss Eliza, ly Cloud, J., 39 Eckfelt[?], A., 39 Cloud, Mr., 11 Edwin, David, 68 Coffin, Capt., 2 ' Elkinton, Dr., 22 Coffin, Capt, (wife of), 3 Ellmaker, 72, 75, see also Elmakcr Columbia Hose Company, 44 Elmaker, Levi, 7 Columbus, 85 Ely, Revd. S., 13 Comegys, Mr., 14 Engals, Mrs., 7 Conelly, 88 Engles? see Ingals Connell, Mrs., 15 Ervin, Mr., 8 Conneiy, 86 Evans, Oliver, 85 Copley, loose item #2 recto Evans? see Evins Cox, Dr., 85 Evings, Mrs., 2 Cox, Judge, 15 Evins, (mother of), 8 Coxe? see Cox Evins, Charles, j Craig, 64 Craig, James, 10 Fat Cattle, 1, 90 Crain, Mrs., 1,6 Fering, Mr., 13 Crain, Mrs. (daughter of), 1 Findley, Mr., 92 Cresson, Caleb (children of), 74 Eindly, Mr., 82 Cresson, Miss, 6 Fitch, D., It) Cushing, Capt., 6 , Fraley, W., 44 Fritz, Fred., 44 Daveese, Mr., 5 David, Jacques Louis, 10 ' Garrett, John, 90 Davidson, Theodore, 6$ Garrett, Miss, 11 The Notebook of Bass Otis Gibson, Dr., 4, H, 8fi Hill, 18 Giles, «5 Hill, Mr., y2 Gileson, 3 Hillard, Mr., 8 Gilleson, 5 Hillegas, William, 4 Gillies, Mrs., 13 Hillegas, William (wife of), 4 Gillies, Theodore, 11 Hodg, Mrs., y Gillis, Mr., 11 Hodge? see Hodg Gillispe, Judge, 73 Hofftnan? see Hofman Gilmer, Mrs., i Hofman, Mr. Samuel, 13 Gilmor. see Gilmore Holtowell, William, 93 Gilmore, Miss, 1 Holmes, Mr., 73 Gilmore, Mr., 1 (i) Holton, Mrs., y Gilmore, Robert, 86 Holy Family, Ï Glover, 2j Hooper, Mr., 22 GraefF,JamesH.,6S Hopkinson, 85 Graham,James D., t5 Hopkinson,Jd., 39 Grant, Mrs., 17 Horrell. Chas. M., 44 Grant, Mrs., (son of), 17 Howel, Miss, 6 Grant, W., 22 Huber, Mr., H) Graves, Bazil, 34 Huber[?¡, 35 Gray, Mr., 12, 33 Hudson, inside rear cover [Gray, Robert?], see Rob, Gray Hunt, Capt., 16 Great rase [race] Brandewine, 5 Hutchinson, Daniel L., 65 Griffiths, Mrs. Dr., 13 Grimes, J., 71 Ingals, Mr., 17 Guire, Capt., 2 Ingals, Revd., 13 Guire, Mr., i 1 Ingersol, Mr., y4 Inthaler[?], y4 Haley, Mr, H4 Irvin, Armstrong, 3, 6 Hamilton, Willm., rear flyleaf recto Irvin, Gen., 3, r6 Handcock, Mrs., 3 Irvin, Gen. (sister of), 3 Handcock, Mrs. (child of), 3 Irvine, see Irvin Harison, Major, 11 Irvine? see Earvin Hamian, brother of, i>o Izard, Gen., 85 Han, Mr., 10, (j) Hart,John V., 44, loose item #1 recto Jackson, 34 Hart,John V., (son of), 44 Jacoby, 13 Hart, John V., (sons of), loose item # 1 recto Jahraus, John L., 51 Hart, Lawyer, 84 Janvier, Mr., 7 Hart, Lawyer (father of), 84 Janvier, Mr. (brother of), 7 Hart, Theodore, loose item # 1 recto Janvier, Mr. (wife of), 7 Harvey, Mrs. Cîeorge, lo Janway, Dr., 7 Hawkins, Mrs., 5(1 Janway, Dr, (wife of), 7 Haydon, Mr., yt> Jefferies, Dr., loose item #2 recto Heaffcr & Ster, <>o Jefferson, 78, 85 Heberton, Mr., 17, 39 Jenkins, Capt., 12 Heberton, Mrs., 17 Johnson, Judge, 85 Helia, 8í Jones, Dr., 5 Herman, Miss, y Jones, Mrs., 4 Herman, Mr., 8 Jones, WiUiam, E^., 15 Herman, Mrs., 11 Herrick¡?], Mr., líí Kaneda, Hi Hewes, see Hewis Keating, Mr., 33 Hewis,Jno., 34 Keller, Mr., 10 25O American Antiquarian Society Kelly. Mre., 7 Lide, Mrs., 2 Kemp, Miss, 15 Litman, Mrs., 9 Kenaday, Samuel, 3 Little, Geni., 85 Kenedy, Sml., 78 ' Livingston, Mr., 3 Kennada, S., J3 Lockhard, Mr., 35 Kennady, Samuel, yo Longstretíi, Joshua (wife of), 16 Kennedy, see Kaneda, Kenaday, Kenedy, Loyd, Mrs., 17 Kennada, Kennady Kenny, Mr, 6 McAlister, Mr, 18 Kenny, Mrs., 6 McAlister, Miss, 3 Kenworthy, Mr., 2 Me cally. Miss, \6 MÍ., 17 McClurg, Alexander, 12 Klett, Mr., 11 (2) McGhee,Jobn, 18 Klett, Mtï., 11 McGrath,JohnW.,65 Kneas, John, 2 (2) McMurtrie, J., 39 Kneas, Wm., 68 Madison, 85 Kneass, see Kneas Madison, Mrs., Sí Kneel, Revd. Dr., 4 Mantle Club, 6^ Kneeiand? see Kneel Mantón, Amisa, 4 Knox, Mr., 7 , Marcoo, Mr., 3 Knox, Mrs., 7 Markoe? see Marcoo KoUock, Dr., 5 Marselis, see Marsilias Krinunel, d Marsillas, Dr., 44 Kyle, Joseph, 6« Martin, Robert, 39 Maurer? see Moweray Lad from N York, i Mayo, J. M., and lady, loose item #2 recto Lafayette, 34, rear flyleaf verso Meiisett, Mr., [ r Lajus, Paul, 8 Melisett, Mrs., [ 5 Lajus, Paul (wife of), 8 Meiisett, Mrs. (mother of), 1 i Lambdin,J. R.,68 Melizet? see Meiisett Lamboum, Eli, 5 Merrifield, A. M., loose item #2 recto Lamkin[?], Christopher, 15 Miner, Charles? see Miner, George Lansett, James, 22 Miner, George, 6 Latte, Mr, 2 Mingle, Pbilip, 2 Latte, R., 5 Mitcheson, N[?|., 39 Le Long pray, 93 Monroe, see Munroe Leaper, Mr., líí, 17 More, Revd. Dr., 1 Leaper, Mr. (father of), 17 Morgan, 82 Leaprer, Mr. (mother of), 17 Morse, Francis, 13 Leaper, Mrs., ifi Morse, Francis (daughter of), 13 Lehman, see Leighman 1 Moweray, Dr. (wife of), 4 Lehman, Wm., 7 Mudge, 94 Lehman, Wm. (wife of), 7 Munroe, 78 Leighman, Dr., 7 1 Leighman, Mr., yj ' Napoleon Crossing tbe Alps, 10, 11 (2), 18 Lentz, Mr., 7, 8 Napoleon, 10, 11 Lets[?],Jas., 11 Natt, Thos., 9, 82 Lieut., y 2 Neagle, see Negle Lightner, A. M., 48 Neal, 5 Lighmer, Mr. W[?]. F., 9 Neal, (children of), 5 Lightner, Mrs. W[?]. F., 9 Neal, (wife of), 5 Lile,Jobn, 54 1 Neall, Dr., 13 Lisle, see Lile Neal, (son of), 6 Litle, Geni., 3 Negle, John, 68 The Notebook of Bass Otis 251 Neill? see Neall Rabsom, Mrs., 82 Nevins, Mrs., 5 Rallston, Mr., 14,(1), 18 Nevins, James, 2 Raliston, Mrs., 5, 9 Nevins, S., 34 Rayberg[?],Mrs., 11 Newbold, Mr., 3 (Í) Rea, John, 7 Newkirk, 1 (2) Rea, John (wife of), 7 Newkirk, Mrs., 1,17 Read, George, 56 Newkirk, M., ly Read, William T, 47, 56 Newkirk, Mathew, 16 Reed, Col., 85 Newkirk, Mathew (wife of), 16 Reed, Mr., ID, 33 Newkirk, Mathew (child of), 16 Reed, Mrs., i<> Nicholson, see Nickelson Reed, Mrs. Susan, 6 NickeLson, fío Richards, Mark (family of), 8 Nickolds, Mr., 17 Ridgeway, 35 Nickolds, Mrs., 17 Rob, Gray, 35 Roberts, Mrs., 16 Ohio, Gov. of, 85 Robinson, 17, 82 Oliver, Mr., 93 Robinson, Capt., 7 Oliver, John A., 75 Robinson, Capt. (child of), 7 Orum, George, 20 Robinson, Mrs., 17 Ods, Bass, 42, fío, 68, rear flyleafrecto , loose Robinson, Mrs. (child of), 17 item # I recto Rodes, Joseph, 19 Ods, Isaac, 39, 73 Rodgers, Dr., 13 Ods, Melvill, 90 Rodgers, Mrs-, 6 Ods, Susanna, 94 Rodney, Caesar, 18 Ozeas? see Ozius Rope[?], Mr. Wm., 17 Ozius, 14 Ross, Mr., 2 2 Ozius, Mr., 13 Ross, Theodore W., 47 Rubicam, Mr., 34 Painters Club, 68 Rueta, Chas. T, 65 Parker, 7 i Rundah[?], E., 84 Peckworth, Chas., 71 Périt, Mrs., 16 St. Clare, Gen., 85 Perrott, Mr., 75 St. John, Mrs., 11 Perron, Mr. (sister of), 75 St. Mémin, 18 Peters, R., 39 Sartain,J., 68 Peterson, Mr,, 12 Saunders, Mr., 94 Peterson, Mr. (wife of), 12 Savage, Mrs., 11 Phisic, Dr., 85 Schivley, G. P., rear flyleaf recto Phisic, Mrs., 8 Schwarz? see Swartz Phoenix Hose Company, 44 Scott, Lawyer, 2 Physic, see Phisic Seaberry, Mrs., 12 Pierce, C, 39 Seabury, Mr., 12 Pierce, John, 39 Shaw, 93 Pierce, VVm, 39 Sheaff,Mr.J., 34 Pike, Marinus W., 1-18 passim, 6<>, rt8 Sheep, 90 Pike, Mr, ?) Sheepshanks, Mr., i Powels, S., 10 Sheepshanks, Wm., 39 Pratt, Revd. Mr., 17 Shewell, J., 75 Price [?], 71 Shewell, John, 75 Price, Mrs., 3 Shewell, Thos., 39 Prichett, Thos. B., 8 Shippen? see Shipping Prichett, Thos B., (fether of), 8 Shipping, Dr., 3 Printies, Mr., 79 Shipping, Miss, 12 252 American Antiquarian Society Shirman, 9 Truman, Mr., 14 Shott, Mr., 10, 11 Truxton, Com., 85 Shott, Mrs., 11,12 Tumbleston, see Tumblestown Simmandsf?], see Timmands Tumbleston, Hinery, 6 Simmonds, Mr., 6 Tylor, Peter, 20 Simmonds, Mrs., 6 Simpson, Geo., 8 I Valentine, B. E-, 6 Singer, Mrs., 18 Van Dyke, F. A, 65 Smith, 94 Van Osen, 86 Smith, Dr., 7 Vandal, 2 Smith, Mr., 1 j, 14 Vandike, Dr., 1 Smith, Mrs., 13, 14 Vandike, Dr. (mother of), i Smith, W. T R., 68 Vandike, Dr. (wife of), 1 Solisitor General, 84, 85 Vaux, Robert, 42 Soyer, Mr. (father of), loose item #2 recto Vespucius, 85 Soyer, William D. Jr., loose item #2 recto Springer, Mr., 14 Walker, Mr. (children of), 6 Stewart, 80, 85 Walker, Mrs., 11 Stewart, Mrs., 5 Wall, Mr., 92 Sdllife Ducks, 78 Wallac, Wm., (wife of), 4 Stillife Wineglass Apples Nuts &c., 78 Wallac, Wm., 4 Stone, Dexter, 5 , Wallac, Wm., (children of), 4 Stone, Mrs. D., 6 1 Wallington, Capt. (daughter of), 2 Stubblefield, Mr., 16 | Watnot, Mr., 6 Summers, Mrs., 17 Walnut? see Walnot Swartz, 5 Wardel,Mr. [orMrs.?], 1 Swartz, (child of), 5 Warner, Frank, 51, 56 Swartz, (wife of), 5 Warner, Mrs., 92 Sword, Mrs., 5 Warren, Henry, 68 Sword, Mrs. (mother of), 5 Washington, 34, 81 IVashington Crossing the Delaware, 18 Tagart,J., 39 Washington (sketches), 66, 81, 86, 87, 88 Tager[?], Saml., 84 Washington Family, 2 Tager¡?], Saml., (wife of), 84 Waterman, Jessy, 1 Tailor, Miss, 8 Watson, Mrs. John, 13 Täte, Mr., 93 Wear, Mr., 4 Tatem? see Tatum Weaver, Mr., 71 Tatum, Capt., 15 Welch, Elion, 50, 51 Telfair, Alexander, 8 Welch, Thos. B., 68 Thacher, Mr., 9 West, I Thacher, Mr. (child of), 9 West, Benjamin? see West Tliacher, Mr. (wife of), 9 West, Mr, 7 Thacher, L. R., 8 West, Mrs., 21 Thacher, L. R., (son of), 8 White, Mr., 75 Thatcher? see Thacher White, Isaac D., loose item #2, recto Thegergen, I., 89 White, Isaac D. (children of), loose item Thompson, Mr., 85 #1 recto Thouron, N., 12 Whitecar? see Whiticar Timmands, N., 39 Whitehead, Mr., 14 Tobias, David O., ¡6 Whiticar, Miss, 12 Townsend, Mrs., 8 Whitney, (mother of), 15 Towson, CDL, 92 Whitney, Mr., 15 Towson, Mr. Philon, 92 Whitney, Mrs., 15 Towson, Mrs. Philon, 92 Whitney, Mrs., (children of), 13 The Notebook of Bass Otis 253 Whitney, Mr. M. (child of), 13 Wood, Joseph, 1, 6 Wickham, Mr. T., 9 Wood, Joseph (wife of), 1, 6 Wilkenson, Gen., 85 Woodman, Mr., 3, 7, 91 Wilkinson, Dr., 9 Woodman, Mrs., 3 Wilkinson, see Wilkenson Worth, Mr., 17 Willett, Mr., 16 Worthington, Thomas, 8«; Williams, Mr., 15 Wragg, Mr., 17 Wilmingsen, Mr., 5, 19 Wurts, Mr., (children of), 14 Wilson, I Wurts, Miss, 11 Wilson, Revd. Dr., 14 Wyllys, Mr. Harrold, loose item #Î verso Wistar, Dr., «5 Wivil, Mrs., 9 Woellper family, 50 Yeager, C, 39 Wolf, Mr, 14 Yeager, Heniry S., 47 Wood, Caty, 1 Yeager.Jno[?]., 81 Wood, Mr., 6 Young, Mr., 6 Wood, Mr. (wife of), 6 Young, Mr. (wife of), 6